School of Art, Communication and English

BA (Macquarie), BTh (SCD), MStud (Oxford), DPhil (Oxford), FAHA

I research and teach in the area of Old English language and literature.

My research interests range across the literature and culture of early medieval England, commonly known as the Anglo-Saxon period.

My current projects include research on Old English literature and history, early medieval literature and science, and theology and early medieval literature. I have published extensively on Old English biblical poetry, early Old English prose, and science in early medieval literature.

MPhil, PhD (Macquarie)

Bunty Avieson spent a year in 2008-2009 in the Himalayan kingdom of Bhutan, jointly funded by the United Nations and the Bhutan Observer newspaper, to teach journalists and editors, as well as to advise media stakeholders, as part of the country’s move to democracy. This provided the opportunity to undertake research for her PhD thesis, which she completed in 2013, receiving the Vice Chancellor’s Commendation from Macquarie University. During the year-long posting in Bhutan she acted as a consultant to Reporters Without Borders, Asia-Pacific desk.

Avieson’s Master of Philosophy (Macquarie, 2008), titled The Poetics of Paranoia, investigated the construction of self with reference to the theories of Jacques Derrida and 1st century Indian philosopher Nagarjuna.

Avieson’s journalism practice includes news and feature writing in Britain, Australia and Asia for newspapers, including The Australian and the Straits Times in Singapore, as well as a wide range of Australian magazines, including Good Weekend and Good Reading. In the 1990s she was editor of Woman’s Day, and editorial director of New Idea.

She has published three novels, a novella and two memoirs, which have been variously translated into Japanese, German and Thai, and been awarded two Ned Kelly Crime Writing Awards for her crime fiction.

She has taught across a variety of media subjects since 2008, including news journalism, feature writing, creative non-fiction and international communications. She joined University of Sydney in 2014.

Since 2018 Bunty Avieson has been a Principal Investigator (Bhutan) in the Worlds of Journalism Study. In 2020 Avieson was awarded a Discovery Early Career Research Award by the Australian Research Council for a project titled: The Bhutan-Wiki project: knowledge, literacy and orality in the digital age.

Robyn Backen is a contemporary artist whose work makes connections between art, science and philosophy. Her sound, light works, constructions, and computer-generated systems often examine the cultural context of the spaces they inhabit. Drawing upon more than 20 years of research into technology, materials, and communication, Backen has completed many large public commissions, international shows, and residencies, including most recently in China and Sweden. She is also a recipient of the Australia Council Fellowship.

Backen has shown in many national and international exhibitions including Australian Perspecta (1991 and 1997), Spirit and Place Museum of Contemporary Art, Sydney (1996), Flow National Gallery, Kuala Lumpur (2000), Echigo-Tsumari Art Triennial, Japan (2003), Imagining Prometheus, Milan, Italy (2003) and Whispering Trees De Overkant, Den Haag Sculpur, Holland (2007),Exposure, Rejmyre, Sweden (2011), Sookmyung Women's University Gallery, South Korea (2011), Daya / Kindness: Australia-India a cultural exchange, Habitat Centre, New Delhi, RMIT Gallery, Melbourne (2012). Most recently she was commission to create a solo installation for Incinerator Art Space, Willoughby Biennial, Sydney- If you do not speak, do I speak for you? (2015).

Backen has completed many large public commissioned artworks such as Weeping Walls(2001) at Sydney International Airport and Delicate Balance,at Ballast Point Park for the Sydney Harbour Foreshore Authority 2009 and Night Watch for Brisbane CBD2013. She was one of the four commissioned artists to develop a site specific artwork forSiteworks - a series of interactive projects focused on the unique Bundanon properties. Backen is one of the five international artists invited to collaborate and develop the touring artwork Nomanslanding, Sydney, Germany and Scotland (2015-17).

Robyn Backen,Backspace: the art of communication: works from 1990-2010 by Dr Susan Best published in 2011, examines two decades of installation work by Robyn Backen.

BVA (Hons) ANU, MVA Sydney, PhD, Sydney

Stuart studied Printmedia at Canberra School of Art, Australian National University and Kyoto Seika University, Japan. His studio practice tackles the disconnection between political awareness and action, often through the lens of the political and subcultural poster. Bailey explores these ideas through contemporary print processes, textiles, sculpture and installation. In 2023 Stuart was an aritist in residence at the prestigious Masereel printmaking studios in Kasterlee, Belgium. In 2018, with Wendy Murray, Bailey co-curated Fresh blood: Redback Graphix and its AftermathatCasulaPowerhouse that examined the legacy of Australian political poster collective Redback Graphix. He has worked nationally and internationally and in 2005 held the Australia Council Studio Residency in Los Angeles. Since 2004 Stuart has worked as a curator independently and at Canberra Contemporary Art Space and Glen Eira City Council Gallery.

Dr Simon Baré is an academic, interdisciplinary installation artist, and filmmaker. His practice-led research and writing is focused on elusive entanglements located between narrative and non-narrative forms, which make use of ambiguity, opacity, fragmentation, and uncertainty – echoing and reflecting the uncertainty encountered in the world and our experience of it. 

His practice has been framed through a transmedial and multimodal lens focused on boundary blurrings, intersections, and ontological transgressions; that make use of absurd, ergodic, liminal, metaleptic, inter- and extra-textual, and unheimlich creative practices and processes.  His MFA and PhD practice-led research has navigated the creative practice of David Lynch, as an influence on my own practice; alongside an examination of the creative works of Eija-Liisa Ahtila, Francis Bacon, Albert Camus, Mark Z. Danielewski, Marcel Duchamp, Song Dong, Franz Kafka, Charlie Kaufman, Vladimir Nabokov, Cornelia Parker, Gerhard Richter, Jean-Paul Sartre, and Gregor Schneider. 

Co-General Editor of the series Making the Middle Ages (Brepols) and Medieval Voyaging (Brepols)

Professor Jennifer Barrett has a breadth of work and deep experience at the University of Sydney, recently as Director of the National Centre for Cultural Competence (NCCC), previously as the Director of the University’s Culture Strategy, and prior to that her role as Pro Dean, Academic in the Faculty of Arts and Social Sciences (FASS).

Professor Barrett is of Dunghutti heritage from the Macleay River region in northern NSW and has worked in various roles in the University of Sydney since 2000. Core to her professional history has been involvement with Aboriginal and Torres Strait Islander communities, colleagues and leaders, in teaching, research, external engagement and leadership roles in the arts and cultural sectors.

Professor Barrett publishes on museums, culture, art, and the public sphere. Her monograph, Museums and the Public Sphere, was published in 2011 (Wiley-Blackwell) and her co-authored monograph Australian Artists in the Contemporary Museum (with J. Millner, Ashgate Publishing) was published in 2014. Her current research examines the concept of universalism as it relates to museums, cultural practice and human rights.

She is a Chief Investigator with Avril Alba on the Australian Research Council Linkage project, Australian Holocaust Memory, Human Rights and the Contemporary Museum, that explores the nexus between the Holocaust and human rights through the prism of the Sydney Jewish Museum.

She regularly collaborates with the museum, heritage and gallery sectors and has been Chair of the Board, Museums and Galleries NSW since 2015. Between 2000 and 2011 Jennifer was Director of Museum Studies.

BVA MFA (Alta)

Rebecca Beardmore completed her MFA in the department of Art and Design at the University of Alberta, a Centre for Excellence in Printmaking.

An accomplished print-based artist, Rebecca is particularly invested in the material properties that print affords to the photographic image. Her research examines the relationship between the photographic and the reprographic, focusing on the material means by which photographic artworks communicate and exist in the world. Through an innovative and experimental approach to materials and techniques, Beardmore seeks to expand the rhetoric around image perception and disrupt the image as an object of representation – evoking tensions between reading, seeing and perception.

An accomplished print artist, Beardmore is at the forefront of practice and innovation in her field. She recently delivered and published a paper on the intersection of printmaking and photography in contemporary art at IMPACT 10, International printmaking conference in Santander, Spain. The artist is a previous winner, has been an invited judge in Australia’s most prestigious print prize, The Fremantle Print Award. She exhibits internationally and is represented by Artereal Gallery, Sydney.

Born and raised in Canberra, ACT, Roger Benjamin took an Honours degree in Philosophy and Fine Arts at the University of Melbourne in 1979. His MA and PhD were undertaken at Bryn Mawr College outside Philadelphia, whence his doctoral work on early Matisse took him to Paris (1982-83). Roger was appointed in 1984 as Lecturer in Fine Arts at Melbourne where he worked until 1998. From 1998-2000 he was a Research Fellow at the Centre for Cross-Cultural Research, Australian National University. He then taught at the ANU School of Art until his appointment as Power Professor and Director of the Power Institute at the University of Sydney (2003). From 2007 he has been Professor of Art History in the Discipline of Art History at the University of Sydney. His visiting fellowships include the École des Hautes Études en Sciences Sociales (Paris) and the Clark Art Institute (Williamstown, Mass.). In 2013 Professor Benjamin was awarded the prestigious 3-year Discovery Outstanding Researcher Award (DORA) of the Australian Research Council. In 2020 he was awarded a major ARC Discovery grant.

BA(Hons)(UTS), PhD (Macquarie)

Vanessa Berry is an award-winning writer and artist who works with autobiography, history, memory and archives. Her work centres around autobiography and its formal and experimental possibilities, arising from her background in zine making and DIY literary practices. She is the author of Calendar (Upswell 2025), an autobiographical daybook that examines material objects and memory, Gentle and Fierce (Giramondo 2021) an essay collection about human and animal interrelationships, and Mirror Sydney: an atlas of reflections (Giramondo 2017), a collection of essays and hand-drawn maps that investigate the city's marginal places and undercurrents, based on the popular blog Mirror Sydney. She is also the author of the memoirs Ninety 9 (Giramondo 2013) and Strawberry Hills Forever (Local Consumption Publications 2007). Her zines and artworks have been exhibited at galleries such as the Museum of Contemporary Art Australia and National Gallery of Australia and she is one of Australia's best known zine makers, having regularly produced zines since the 1990s. 

Nienke Boer is Lecturer in World Literatures at the University of Sydney. Prior to joining USYD in January 2023, she was Assistant Professor of Humanities (Literature) at Yale-NUS College in Singapore. Her undergraduate and graduate degrees are in Comparative Literature.

Nienke’s research falls at the intersection of Ocean Studies and Global South Studies, where her focus is on the narratives produced by large-scale forced and coerced transoceanic migration. Her first book, The Briny South: Displacement and Sentiment in the Indian Ocean World (Duke UP, 2023), examines legal, literary, and autobiographical depictions of enslaved individuals, indentured labourers, and war prisoners displaced by the twin imperial drives of labour and war.

Dr Olga Boichak is an ARC DECRA Fellow, Westpac Research Fellow, and Senior Lecturer in Digital Cultures at the University of Sydney. Her research explores how communities can build resilience when digital technologies are weaponised. She is the author of over 40 research articles that lay the groundwork for new directions in the studies of information warfare, particularly in the areas of media literacy, civilian resilience, and humanitarianism. Currently, she is working on a project that maps colonial topographies of digital sovereignty in Ukraine, as well as chief investigator on a suite of research projects that explore digital and social media in a geopolitical context.

Boichak is a media sociologist with a rich track record of interdisciplinary collaboration. She holds an interdisciplinary PhD in Social Science (2019) and a Master of Public Administration (2015) from the Maxwell School of Citizenship and Public Affairs, Syracuse University (USA). Before joining the University of Sydney in 2019, she was a visiting scholar at the Toronto Metropolitan University (Canada) and a research assistant at the Center for Computational and Data Sciences (Syracuse University), where she contributed to the development of tools and analytic techniques that support social listening, orchestrated manipulation detection, and decision-making in complex scenarios. Prior to becoming an academic, she had a decade of professional experience in Ukraine, with roles spanning strategic communication, survey research, social entrepreneurship, and youth advocacy.

Boichak is one of the leading international commentators on the role of digital media in witnessing, representing, and challenging the course and outcomes of wars. Having served as an editor of the Digital War journal (2020-2023), she regularly appears on ABC, BBC, CNN, SkyNews, Channel24, CNA, Bloomberg, and has written for the Conversation, Foreign Policy, Sydney Morning Herald, The Strategist, and many others. The Missing Chapter documentary on Ukraine (Vox, 2022), based on her auto-ethnographic essay and original research materials, has amassed over 2 million online views, been translated into multiple languages, and is now a permanent exhibit at the Victims of Communism Museum in Washington, DC.

Boichak is a recipient of prestigious competitive fellowships and awards, including the Fulbright Fellowship (2014), Young Generation Will Change Ukraine Award (2014), International Communication Association's Best Paper Award (2019), the Vice Chancellor's Award for Outstanding Early Career Research (2022), and the Max Crawford Medal (2024), Australia's most prestigious award for the achievement and promise in the Humanities. She currently serves as Director of the Ukrainian Studies Foundation in Australia, Executive Committee member of the Ukrainian Studies Association of Australia and New Zealand, and is on the list of prominent Australians personally sanctioned by the Kremlin.

BA (Hons) (McGill University), MA (University of Toronto), PhD (UNSW)

Dr Margie Borschke is an academic researcher, writer and media educator. She is the author of This is not a remix: piracy, authenticity and popular music (Bloomsbury 2017) and many other articles and chapters on the intersection of culture and technology. Copying, circulation/distribution and collecting as cultural practices are the focus of her work and her program of research employs innovative archival and media archaeological approaches to inquiry. Her goal is to create rigorous scholarship that responds to pressing problems related to digital technologies and the internet through a nuanced study of contemporary life and the recent past that is accessible to both scholars and a general audience. Recent work has considered these themes and used these approaches in the context of underground music cultures, art and collection practices, music streaming services, informal publication in scholarly communities, digital and network metaphors, Ad Hoc archiving, NFTs and blockchain imaginaries.

BA / LLB Hons (University of Sydney), GradCertJournalism (University of Technology Sydney), MA (University of Sydney), MTeach (University of Sydney)

Samantha Bowers teaches creative writing at the University of Sydney, where she is also completing a PhD in Creative Writing, writing a formally experimental novel examining domestic violence, criminal justice, trauma and memory. She was a courts and legal journalist at national masthead The Australian Financial Review, and is a former lawyer, having practised in Australia and the UK. 

BA Hons, DipEd, PhD

Meg Brayshaw researches and teaches Australian literature, with a particular focus on the intersection of aesthetic developments with politics, history, space and the environment. She serves as co-editor of Australian Literary Studies and is Academic Editor of the Sydney Studies in Australian Literature series at Sydney University Press. She has held fellowships from the National Library of Australia, the Roderick Centre for Australian Literature and Creative Writing, and the Centre for Concurrences in Colonial and Postcolonial Studies at Linnaeus University, Sweden.

Meg has made contributions to Australian literary studies, the study of global modernisms, urban literary studies, and ecological literary criticism. Her first monograph, Sydney and its Waterway in Australian Literary Modernism, revised the accepted narrative of Australian literary history by proving the existence of a modernist aesthetic and perspective in Australia before World War II. It deployed materialist ecocritical analysis to argue that in the interwar period, Australian women writers developed a situated modern urban poetics through engagement with Sydney's iconic estuary and harbour. 

She is currently working on two projects. The first is a literary history of mining in Australia, which will explore literature's role in shaping the complex cultural politics and social values pertaining to the industry. She has published on the topic in Textual Practice, and The Journal of Postcolonial Writing.

Her second project is a monograph about the Australian writer Dymphna Cusack and the politics of Australian literature during the Cold War. 

I am an Associate Professor and Chair of Art History at the University of Sydney, specialising in the history of the photographic medium. My transhistorical and interdisciplinary research interrogates the entanglement of materiality and practice with the political and cultural conditions that shape visual experience, from surveillance and propaganda to memory and disaster. My research has been published in leading journals and premier academic publishers including the forthcoming monograph Surveillance Aesthetics: Stasi Photography and its Afterlife (Bloomsbury: 2027); Photography and Place: Seeing and Not Seeing Germany After 1945 (Routledge 2016), and co-edited volumes Aesthetics in Transition: Visual Culture of the Weimar Republic and Nazi Germany with Deborah Ascher Barnstone (Bloomsbury 2025); and Photography and Ontology: Unsettling Images with Natalya Lusty (Routledge 2019), awarded Best Anthology by the Art Association of Australia and New Zealand. 

My current research projects include On Disaster: Photography, Media and Visual Culture and Modernist Photobooks & Propaganda. I am the research lead for the Photographic Cultures Research Group, a book series editor for Photography, History: History Photography at Routledge; an editorial member of the Visual Culture and German Contexts Book Series at Bloomsbury; an editorial advisory board member for the Australian & NZ Journal of Art, and a former editorial board member and reviews editor of the Australian & New Zealand Journal of Art. My research has been supported by an Academy of the Humanities’ Ernst & Rosemarie Keller Award, a Sloan Fellowship in Photography at the Bodleian Libraries (2024), and a prestigious Oliver Smithies Visiting Research Lectureship at Balliol, University of Oxford (2026). 

Dr Benedetta Brevini (born 1982) is Associate Professor of political economy of communication at the University of Sydney and Visiting Professor at the Institute for Public Knowledge at New York University until 2025. She is also Senior Visiting Fellow at the London School of Economics and Political Science. She is an expert in Critical AI, the relationship between Data Capitalism, AI and the Climate Crisis and Environmental Communication. Before joining academia she worked as a journalist in Milan, New York and London for CNBC, RAI and the Guardian and held tenured positions at City University London and Brunel University London. She writes on The Guardian's Comment is Free and contributes to a number of print and web publications including South China Morning Post, OpenDemocracy and the Conversation. She is the author of several books. Her volume "Is AI good for the Planet ? "(2021) has been named best science book of the week by Nature.Her other books are "Newscorp: Empire of Influence (2024), Amazon, Understanding a Global Communication Giant (2020), Public Service Broadcasting online (2013), Beyond Wikileaks (2013), Carbon Capitalism and Communication: Confronting Climate Crisis (2017), Climate Change and the Media (2018). She is currently working on a new book project on Communication, Data Capitalism and the Climate Emergency (Polity, Cambridge).

Senior Lecturer in the Art History discipline. Over the years, my teaching has engaged with a broad range of Western art, covering topics from the Renaissance to film and contemporary media.  With an interest in the intersections across the history of aesthetics, philosophy, and the visual arts, I have also published on a diverse range of artists and subjects in the modern period. The underlying theme that unifies this research, however, is a concern with understanding the nature of the changing relation between artwork and spectator across different historical and social contexts (a topic that you will usually find filed under 'theories of spectatorship'). This focus was initially inspired by reading the work of the French art historians, Hubert Damisch and Louis Marin, who were the first in the field of art history to embrace, in creative and meaningful ways, the thinking of the French psychoanalyst Jacques Lacan. I maintain a keen interest in exploring the possibilities that arise from the encounter between art history (or the study of visual culture more broadly) and Lacanian-inspired theoretical thinking. My current research projects include:  a study of the relation between the colonial landscape art of William Hodges and the modernist New Zealand artist Colin McCahon; the changing practice of the Eucharist and the origin of perspective; and a rethinking of Australian art history after Lacan. 

BA (Syd.) PhD (Macq.)

Anna Broinowski is a Walkley-winning filmmaker, synthetic media researcher and nonfiction author who uses innovative technologies and narrative modes to document countercultural subjects. Her 9 globally screened films include Aim High in Creation! and Forbidden Lie$, and have won 3 AFI/AACTAs, Writer's Guild of America and NSW Premier's Literary awards, amongst others. Anna's books are Datsun Angel (2024), Please Explain: the rise, fall and rise again of Pauline Hanson (2017), and The Director is the Commander (2015, US reprint 2017). A National Institute of Dramatic Arts (NIDA) graduate, Anna has worked as an actor and journalist, served as Jury Chair for the NSW Literary Awards, and Documentary VP on the Australian Director's Guild Board. As a senior screen lecturer at Sydney College of the Arts and member of the Centre for AI Trust and Governance (CAITG), Anna researches GenAI screen tools, political deepfakes, alt-right Australian populist movements and hybrid documentary film.

Vicky Browne is an installation artist who utilises everyday objects such as walkmans, iPods,
clothing and furniture to comment on Western systems of consumption and networked
relationships to ecologies. Browne often manipulates the familiar using traditional craft methods
(such as knitting or weaving), and she regularly employs found or produced sound. Browne
completed a Master of Visual Art at Sydney College of the Arts in 2010 and her work has been
exhibited at Artspace, Sydney; Artspace, Auckland, New Zealand. Exhibitions include Living in the
Ruins of the Twentieth Century, UTS Gallery, Sydney, Sound Full: Sound in Contemporary
Australian and New Zealand Art, City Gallery Wellington, New Zealand and Material Sound at the
Black Mountain College Museum and Art Centre Asheville NC in 2018. Vicky Browne also
maintains a collaborative practice with musician Darren Seltmann. Together they have exhibited at
MONA FOMA, Hobart, and completed a residency at Artspace Sydney 2014. Vicky Browne was
announced the winner of the 2013 Fauvette Loureiro Memorial Artists’ Travel Scholarship Prize
and completed a residency at the 18th street Art centre in Santa Monica in 2014. Browne is
currently coordinating the First Year Foundation program at Sydney College of the Arts (Sydney
University). A major survey of her practice will open at the Blue Mountains Cultural Center (NSW)
on September the 9th 2022.

The inaugural Professor of Cultural and Creative Industries, Daniel Browning is an Aboriginal writer, journalist, radio broadcaster, documentary maker and sound artist. In his previous role as Editor Indigenous Radio at the Australian Broadcasting Corporation, he led the Indigenous Radio Unit overseeing longstanding flagship programs Awaye! and Speaking Out as well as establishing the language revival podcast Word Up. A visual arts graduate and self-described "failed artist", Daniel went on to host The Art Show and Arts in 30 podcasts, soothing ABC audiences with a voice once described as "like honey dripping over a rock by a rainforest stream". In nearly three decades at the national broadcaster, he worked as a general and specialist arts reporter, digital journalist, newsreader, sub-editor, producer, presenter, manager and senior executive across several divisions including News and Current Affairs, triple j, ABC Indigenous and Radio National. Daniel is a widely published freelance writer, public interlocutor, arts communicator and cultural critic. From 2010 to 2015, he guest edited five specialist Indigenous issues of contemporary art journal Artlink, three of which were launched internationally. His critical essays on contemporary Indigenous art have been published by all major national and state galleries, including the National Gallery of Australia, the National Gallery of Victoria and the Art Gallery of New South Wales. His work has also featured in magazines such as Harper's Bazaar, Australian Art Collector, Art Monthly, The Saturday Paper and internationally by ArtReview, Art Basel, Gradhiva and Conde Nast Traveller. Hailed by the judges as "an outstanding contribution to arts journalism", his first book, the genre-busting anthology Close to the Subject: Selected Works won the Indigenous Writing Prize at the 2024 Victorian Premier's Literary Awards. Later that year, it won the prestigious Prime Minister's Literary Award for Non-Fiction. Also in 2024, he was a finalist in the June Andrews Prize for Arts Journalism, returning the following year to jointly win the Walkley Foundation's inaugural Arts Journalism and Arts Criticism Prize with ABC colleagues Rudi Bremer and Teresa Tan. A former artistic associate of western Sydney-based arts organisation Utp, Daniel curated five site-specific deep listening experiences for Blak Box, a sound pavilion designed to amplify the voices of First Nations artists working across spoken word, poetry, music and language revival. He has been awarded two overseas residencies, the 2023 galang First Nations Residency Program at the Cite internationale des arts in Paris and the 2024 First Nations Writer-in-Residence Fellowship at Trinity Hall College, University of Cambridge. A saltwater Goori from Fingal on the far north coast of NSW, Daniel belongs to the Bundjalung people of the Lower Tweed River on his dad's side and the Kullilli people of south-western Queensland. Also through his mum, he is a descendant of the Bundjalung and Yugambeh-speaking people who lived between the five rivers in far northern NSW and south-eastern Queensland.

BA, MPhil, PhD (Cambridge)

My primary field of research and teaching is Modernism Studies, with a focus on poetry, novels, short fiction, and drama produced in the period 1900-1950 by Irish, American, British, and Italian writers. My research takes a broadly historicist view of literary production, in terms of the historical forces of the time, and in writers’ use of historical sources, particularly writers trained in classical or Romance philology. My focus on Samuel Beckett intersects with my work in digital scholarly editing, principally as editorial board member and contributing editor to the MLA prize-winning Beckett Digital Manuscript Project. My work on Ezra Pound analyses his role in promoting East-West aesthetics, his reception of classical and medieval philosophy and literature, and the interplay of deep time and dispersed geography in his unfinished epic poem, The Cantos. This work has developed into research on the reception of early medieval Byzantium in Modernist poetry and prose, including travel writing, and the reception of early medieval (Byzantine and Siculo-Norman) Sicily. My research in textual studies and scholarly editing deals with modern manuscripts and broadly genetic approaches to editing, as well as book history, hermeneutics, the history of philology, and literary criticism. I have secondary research and teaching interests in Modernist art, Australian literature, literary theory, and film from its inception to the present day. My research also engages with the complex interactions of Transatlantic Modernism and Contemporary Literature with the artistic and literary traditions of China and Japan, as well as how artists and writers from East Asia have informed and responded to these Western interests. I supervise PhD students in this area and have recently taught related courses during my time as a visiting professor in Japan.

I am a researcher, educator and writer in art curating and museum studies and a Senior Interdisciplinary Lecturer in the Faculty of Arts and Social Sciences. My research focuses on contemporary developments in curating and the ways in which curators initiate new relationships between artists, audiences, and collections in art museums. I am currently progressing projects on contemporary developments in curating in Australia and the UK, the changing voice of textual interpretation in art museums, and on intersections between museum education philosophy and approaches to teaching and learning in university settings. I am committed to supporting entry and employability for students in the Galleries, Libraries, Archives and Museums (GLAM) sector and foster these pathwaths through a number of Work Integrated Learning approaches. 

I have extensive experience teaching and researching in Australia and the UK, having arrived at the University of Sydney after a period teaching at Sotheby's Instiute of Art, London, following roles at UK museums such as Tate and the Sainsbury Centre for Visual Arts, University of East Anglia. 

My book Curating Art Now (Lund Humphries, 2022) critically engages with questions of power, inclusivity and innovation in the post-pandemic curatorial landscape. I have also published articles, book chapters, and exhibition and book reviews on museums and communities, museum education, interpretation, and curatorial pedagogies.