Beata Batorowicz

• Doctor of Visual Arts (Griffith University)
• Associate Professor in Visual Arts at University of Southern Queensland

Autobiographical trauma art is a way to connect its viewers with the artist and her experience , and with the history in which this experience occurred. We argue that when autobiographical trauma art involves craft practices, such as working with textiles, the relationships between history, the artist, the artwork, and the viewer become particularl...

The COVID-19 pandemic, and the emergency pivot to online learning that this health crisis prompted, has inevitably impacted teaching and learning across all study conducted by tertiary visual arts educators who shifted their social constructivist teaching methods from the face-to-face classroom to the online setting during the first wave of the pan...

The Covid-19 pandemic has had a significant impact on universities and the delivery of educational content more broadly. In many instances, this has necessitated a pivot to online learning, which presents unique challenges for practice-based visual art courses that are traditionally undertaken in an on-campus studio setting. This article investigat...

This article explores how artist-researchers navigate the “uncertain” space between theory and practice in a new Doctor of Creative Arts (DCA) program in an Australian regional university. The trickster is deployed as a metaphorical device to provide insights into how the first DCA’s candidates, their supervisors, and the university’s leadership ma...

Two kinds of futures have emerged in the shadow of colonialism: the haunted futures of a white settler society that suppresses or denies knowledge of the ‘founding wound’ of colonial invasion; and Indigenous futures constituted by a refusal of defeat and a ‘radical resurgence.’ While they appear as parallel and irreconcilable trajectories, we sugge...

The experience of the COVID-19 pandemic can be recognised as traumatic for the way in which its sudden and unexpected onset disrupted a sense of ordinary life for so many around the world. Adults, and far less so children, were unable to prepare for the danger of the rapidly spreading disease. As such, both were left vulnerable to the experience of...

While numerous studies on the impacts of COVID-19 on university learning and teaching are now emerging, there has been less critical attention focused on the impact of the shift to online engagement on student-staff partnership (SSP) practices. This article analyses the experiences and perceptions of students and staff from an Australian university...

Simple Summary This paper examines a selection of 21st-century international examples of exhibited visual artworks involving live or deceased animals. It seeks to reveal the risks and benefits of unique encounters with animals through art and to consider the ethical implications of artwork deploying animals. Australian and international animal prot...

Phoebe Gloeckner’s graphic novel The Diary of a Teenage Girl (2002), Nan Goldin’s photo diary The Ballad of Sexual Dependency (1986), and Tracey Emin’s intimate art installations My Bed (1998) and Everyone I Have Ever Slept With 1963–1995 (1995) complicate the genres of life writing and confessional art. These artistic narratives both degrade and a...

appears in Higher Education and the Future of Graduate Employability: A Connectedness Learning Approach, edited by Ruth Bridgstock and Neil Tippett

This essay explores the stories and lies told to children during the Holocaust, and how these operate as forms of preparation and protection within and outside the narrative. In Roberto Benigni’s Life is Beautiful (1997) and Mark Herman’s The Boy in the Striped Pajamas (2008) parents seek to protect children from the knowledge of war, but this prev...

This article explores the development and implementation of a new Doctor of Creative Arts program in a regional university. The experiences of key leadership staff and Doctor of Creative Arts candidates enrolled in the foundation year of the program are contextualised within the current landscape of practice-based arts research in the higher educat...

In an era of globalisation, positivist research methodologies and voices are privileged and funded over those of qualitative researchers. This has led to narrowing beliefs about what constitutes knowledge, and about the ways in which knowledge is constructed and evaluated, impacting upon the conduct, funding and reporting of arts research, and also...