Every face is different and every face is fascinating, but I find an elderly one particularly intriguing.
Glenn McGrath makes a strong impact on the English batsmen and the walls of the National Portrait Gallery.
Michael Desmond explores what makes a portrait subject significant.
Penelope Grist and Rebecca Ray talk to the artists in Portrait23: Identity about transcending modes of portraiture.
Former NPG Director, Andrew Sayers celebrates the support given to the Gallery by Gordon and Marilyn Darling.
As Bryan Westwood’s portrait of Brian Dunlop hangs adjacent to Brian Dunlop’s portrait of the philanthropist Dr Joseph Brown AO OBE, we see the artist of one work as the subject of the other.
Peter Wilmoth’s boy-journalist toolkit for antagonising an Australian political giant.
Australian character on the market by Jane Raffan.
The exhibition Flash: Australian Athletes in Focus offers various interpretations of sporting men and women by five Australian photographers.
The oil portrait of Sir Frank Packer KBE by Judy Cassab was gifted to the National Portrait Gallery in 2006.
Former NPG Director, Andrew Sayers describes the 1922 Self-portrait with Gladioli by George Lambert.
Jane Raffan investigates auction sales of self portraits nationally and internationally.
John Elliott talks about his photographic portrait practice, including his iconic image of Slim Dusty arm-in-arm with Dame Edna Everage.
Penelope Grist spends some quality time with the Portrait Gallery’s summer collection exhibition, Eye to Eye.
Phil Manning celebrates a century of Brisbane photographic portraiture.
Stephen Valambras Graham traverses the intriguing socio-political terrain behind two iconic First Nations portraits of the 1850s.