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Former NPG Deputy Director, Simon Elliott talks with Ern McQuillan about his life and career as a sports photographer.

Anthony Anderton

An interview with the photographer.

Sideshow Alley

Death masks, post-mortem drawings and other spooky and disquieting portraits... Come and see how portraits of infamous Australians were used in the 19th century.

National Photographic Portrait Prize 2009

In its second year at the National Portrait Gallery, and for the first time touring to other venues, the National Photographic Portrait Prize 2009 continues to present surprising perspectives on the nature of contemporary portrait photography.

Past directors

Directors of the National Portrait Gallery from 1998 to today.

Louise Whelan

I met Kaloti Parmjit the day I took the photo. I first visited the Sikh temple in the suburb of Glenwood to take photos as part of a social documentary project I'm undertaking for the State Library of NSW.

Poise and Carats

I keep going back to Cartier: The Exhibition at the National Gallery of Australia next door, and, within the exhibition, to Princess Marie Louise’s diamond, pearl and sapphire Indian tiara (1923), surely one of the most superb head ornaments ever conceived.

Is the truth of portraiture vested exclusively in likeness?

Curator Michael Desmond introduces the exhibition Truth and Likeness, an investigation of the importance of likeness to portraiture.

Post digital

Tegan McAuley looks at the evolution of video portraiture.

Hyperversity

Dr Sarah Engledow writes about the larger-than-life Australian performance artist, Leigh Bowery.

A spectral sentience

Aimee Board reveals method, motivation and mortality in the portraiture of Rod McNicol.

Portrait Donors

Little women

Joanna Gilmour looks beyond the ivory face of select portrait miniatures to reveal their sitters’ true grit.

All dressed up

Jane Raffan asks do clothes make the portrait, and can the same work with a new title fetch a better price?

Illuminating history

Joanna Gilmour reflects on 25 years of collecting at the National Portrait Gallery.

Moving still

Anne O’Hehir on the seductive power of the film still to reflect and shape ourselves and our cultural landscape.