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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Wes Stacey, Kurnell, Sydney, 1973 (printed 2000)

David Moore

gelatin silver photograph on paper (image: 28.0 cm x 43.0 cm, frame: 51.0 cm x 66.3 cm)

Wesley Stacey (b. 1941), photographer, was an apprentice silk screener and studied drawing and design at East Sydney Technical College in the early 1960s before working as a graphic designer and photographer in Sydney and London. In 1968-9 he was a staff photographer for POL and Chance magazines. Establishing the Australian Centre for Photography with David Moore in 1973-4, he freelanced as a commercial photographer until 1975, his images published in books including Rude Timber Buildings in Australia (1969), Kings Cross Sydney (1971), Historic Towns of Australia (1973) and The Artist Craftsman in Australia (1977). In 1975 he set out around Australia in a camper van, recording his environment with a Kodak Instamatic. He spent two years working with Gubbo Ted Thomas and the Australian Institute of Aboriginal Studies photographing heritage sites, and his interest in Australian landscapes continued through the 1980s, when he produced panoramic photographs exploring symbols and sacred aspects of the bush. He has lived for decades on the south coast of New South Wales. Stacey has held solo exhibitions since 1964 and many hundreds of his photographs are in the collections of major Australian galleries. The Monash Gallery of Art presented a survey of four decades of his photographs, The Wild Thing, in 2017.

Collection: National Portrait Gallery
The series David Moore: From Face to Face was acquired by gift of the artist and financial assistance from Timothy Fairfax AC and L Gordon Darling AC CMG 2001

Accession number: 2001.124

Currently not on display

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Artist and subject

David Moore (age 46 in 1973)

Wesley Stacey (age 32 in 1973)

Subject professions

Visual arts and crafts

Related information

The Companion

Permanent collection catalogue

Café and shop

On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.

Clifton Pugh painting in the studio, 1974 Fred Williams
Clifton Pugh painting in the studio, 1974 Fred Williams
Clifton Pugh painting in the studio, 1974 Fred Williams
Clifton Pugh painting in the studio, 1974 Fred Williams

Painting mates

Magazine article by Michael Desmond, 2011

Michael Desmond discusses Fred Williams' portraits of friends, artist Clifton Pugh, David Aspden and writer Stephen Murray-Smith, and the stylistic connections between his portraits and landscapes.

Harry Seidler, Killara, Sydney, 1984 (printed 2000) David Moore
Harry Seidler, Killara, Sydney, 1984 (printed 2000) David Moore
Harry Seidler, Killara, Sydney, 1984 (printed 2000) David Moore
Harry Seidler, Killara, Sydney, 1984 (printed 2000) David Moore

A Captured Moment

Magazine article by Simon Elliott, 2001

The acquisition of David Moore's archive of portrait photographs for the National Portrait Gallery's collection.

Dame Edna Everage, 1982 Lewis Morley
Dame Edna Everage, 1982 Lewis Morley
Dame Edna Everage, 1982 Lewis Morley
Dame Edna Everage, 1982 Lewis Morley

Bare

Degrees of undress

Previous exhibition, 2015

Bare: Degrees of undress celebrates the candid, contrived, natural, sexy, ironic, beautiful, and fascinating in Australian portraiture that shows a bit of skin. 

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.