Search / daniel cooper

Start Your Engines...

The bronze sculpture by Julie Edgar reflects through both the material and representation the determined and straight-forward nature of Brabham. 

The importance of being bearded

Joanna Gilmour discovers that the beards of the ill-fated explorers Burke and Wills were as epic as their expedition to traverse Australia from south to north.

How to be a boy

Christopher Chapman profiles Chris Lilley, actor and creator of Angry Boys.

Rock art

Andrew Mayo talks to three of Australia’s most prominent and prolific music photographers — Martin Philbey, Kane Hibberd and Daniel Boud — about the challenges and inspiration behind their craft.

Portrait of a Modernist

The National Portrait Gallery acquired the self-portrait by Grace Cossington Smith in 2003.

Northern exposure

Phil Manning celebrates a century of Brisbane photographic portraiture.

The animating signature

Joanna Gilmore delights in the affecting drawings of Mathew Lynn.

Capturing Cook

In focussing on the importance of gifts in the building of the collection, prominence must be given to the most spectacular of the National Portrait Gallery's acquisitions; the portrait of Captain James Cook RN by John Webber R.A.

Boyd to man

Christopher Chapman looks at influences and insight in the formative years of Arthur Boyd.

20 20

Sarah Engledow picks some favourites from a decade of the National Photographic Portrait Prize.

Two pair

In a good paddock

Celebrating a new painted portrait of Joseph Banks, Sarah Engledow spins a yarn of the naturalist, the first kangaroo in France and Don, a Spanish ram.

Brothers on farms

Malcolm Robertson tells the family history of one of Australia's earliest patrons of the arts, his Scottish born great great great grandfather, William Robertson.

Post digital

Tegan McAuley looks at the evolution of video portraiture.

Elle on wheels

Lucy Quinn compares the approaches of three photographers lured to the action and culture of roller derby.

Picture this...

This edited version of a speech by Andrew Sayers examines some of the antecedents of the National Portrait Gallery and set out the ideas behind the modern Gallery and its collection.