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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.

The Go-Betweens, London, c.1986 Warwick Orme

Oz Indie

Under the Milky Way tonight
General content

It was the era of recording your favourite songs directly from the radio; of seeing the latest acts and clips on Countdown; and when the Aussie bands you saw on TV and heard in the charts were the ones you could see live at the pub.

James, 2012 by Myles Nelson

Myles Nelson

Finalist interviews

It was definitely a candid encounter as was the expression on the face. It was constructed insofar as the image was deliberately taken from a distance so as to minimize intrusion and to magnify the effect of the image.

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Honour board
The uncertain recovery, 2012 by Arianne McNaught

Arianne McNaught

Finalist interviews

I think the most important thing in capturing candid shots is to never take the photo when people are expecting you to press the shutter. The more poignant moments are not the stock standard images of people looking at the camera smiling but after or before when they are really interacting with each other.

Tim Fairfax AC

Tim Fairfax, 2018

by Russell Shakespeare
General content

Commissioned with funds provided by The Calvert-Jones Foundation 2018

Jacki Weaver

Jacki Weaver, 2018

by John Tsiavis
General content

Commissioned with funds provided by Marilyn Darling AC 2018

The vigil, 2011 by Anthony Anderton

Anthony Anderton

NPPP 2012 learning resource

An interview with the photographer.

Eden, 2011 by Arianne McNaught

Arianne McNaught

NPPP 2012 learning resource

An interview with the photographer.

Ladki number 1, 2001 by Hema Upadhyay

Hema Upadhyay

by Amrita Gupta Singh
Artist essays

Hema Upadhyay was born in Baroda in 1972 and moved to in Mumbai in 1998. Incorporating painting, installation, sculpture and printmaking, Upadhyay’s work often addresses issues related to migration, especially the experiences of those living in urban communities.

Lucy Culliton, 2016 by Mark Mohell

Lucy Culliton

Explore The Popular Pet Show

Most well-regarded pictures of chickens show them dead. A reliable way to tell if a chicken in a painting is dead is to check if it’s hanging upside down, because unlike, say, cockatoos, chickens don’t practise inversion for enjoyment in life.

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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 past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

The National Portrait Gallery is an Australian Government Agency