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Anthony Browell reminisces about meeting Rose Lindsay, the wife of Australian artist Norman Lindsay.
Michelle Fracaro describes Lionel Lindsay's woodcut The Jester (self-portrait).
Sandra Bruce chats with seven-time NPPP finalist Chris Budgeon about photography, guitars and representing the human story.
Gael Newton delves into the life and art of renowned Australian photographer, Max Dupain.
Michael Desmond profiles a handful of the entrants in first National Photographic Portrait Prize and notes emerging themes and categories.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
Jennifer Coombes explores the lush images of Picnic at Hanging Rock, featuring Anne-Louise Lambert’s Miranda, the face of the film.
Joanna Gilmour writes about the portraiture of the colonial artist William Nicholas.
Magda Keaney explores the symbolism in eX de Medici's portrait of Midnight Oil.
Dr. Sarah Engledow discusses a collection of drawings and prints by the Victorian artist Rick Amor acquired in 2005.
Penelope Grist speaks to Robert McFarlane about shooting for the stars.
Harold Cazneaux's portraits of influential Sydneysiders included Margaret Preston and Ethel Turner, both important figures in the development of ideas about Australian identity and culture.
Inga Walton on the brief but brilliant life of Hugh Ramsay.
Karl James gives short shrift to doubts about the profile of General Sir John Monash.
Joanna Gilmour profiles the life and times of the shutter sisters May and Mina Moore.
Long after the portraitist became indifferent to her, and died, a beguiling portrait hung over its subject.