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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.

Professor Germaine Greer, 1999

Polly Borland

type C photograph (sheet: 44.6 cm x 58.7 cm, image: 39.4 cm x 49.6 cm)

Germaine Greer 1988

by Polly Borland (b. 1959)

gelatin silver photograph

Collection: National Portrait Gallery, Canberra

Purchased 1999

Germaine Greer (b. 1939) is the author of a basic text of the feminist revolution, The Female Eunuch (1971), which examines the ways in which passivity in women has been encouraged. Born in Melbourne and educated there and in Sydney, Greer has not lived in Australia since the 1960s, but she remains one of the country’s best-known expatriates. For nearly forty years she has been an international academic and media personality and a truculent spokesperson on women’s issues; thousands of fans and foes await her next provocative pronouncement. While her academic specialization is sixteenth and seventeenth century literature, her diverse books include The Obstacle Race (1979), about women painters; Sex and Destiny (1984), about the politics of fertility; Daddy, We Hardly Knew You (1989), an autobiography; The Change (1991), about menopause; and The Beautiful Boy (2003), about the representation of boys in art. Her recent book White Beech is an account of her efforts to restore rainforest vegetation to a one-time dairy farm in southern Queensland. In 2013, the University of Melbourne began the process of acquiring and cataloguing Greer’s great collection of papers, including a rich trove of letters.

Collection: National Portrait Gallery
Purchased 2001

Accession number: 2001.59

Currently not on display

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Artist and subject

Polly Borland (age 40 in 1999)

Germaine Greer (age 60 in 1999)

Subject professions

Activism

Writing

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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.