We bring to life subjects that illustrate the impact our students, teaching, research and graduates make in the world.
The Stand exists to unlock the knowledge and expertise inside the University of Wollongong (UOW), telling stories about our people and their accomplishments that inform, educate and inspire. This magazine was born out of a renewed sense of place, purpose and values that will guide the University in fulfilling its role in exploring how to resolve society’s large and complex social, environmental and economic challenges.
We believe education is one of the most powerful transformative forces on communities and individuals. It opens minds and helps people find purpose, meaning – and solutions for the world’s most pressing challenges.
This is our unified story – a story that draws on our past, understands the present, and looks to the future.
Articles
True crime wave
Exploring the ethics and boundaries at play in true crime podcasting. “A beautiful young girl has lost her life, and she’s just been treated like a piece of garbage.”
Breaking new ground
At 28, Sally Riley left her family home in country New South Wales and headed to the University of Wollongong with the idea of becoming an actor.
Realising the power of journalism
On Alice Matthews’ very first reporting shift for radio current affairs on ABC, she learnt a valuable lesson as a journalist: the story you think you’re going to cover, may not be the story you file at the end of the day.
The cutting edge of anatomy
As an outdoors country girl growing up in Wagga, Katie Gaskin’s limited television time would play a pivotal role in moulding her unusual career ambition.
Larger than life
In just three short years, Claire Foxton has expanded her already impressive creative repertoire from artist, designer and print maker, to internationally accomplished muralist.
Lisa Havilah: a creative powerhouse
In 2003, a controversial art exhibition in Western Sydney examined the life and death of Blacktown woman Anita Cobby. The exhibition ‘Anita and Beyond‘- the brainchild of the then Casula Powerhouse director, Kon Gouriotis - involved 12 artists and reams of social history material including personal memorabilia linked to the aftermath of a crime committed in 1986.