Kate Gollings describes an encounter between three generations of Australian photographers; David Moore, Max Dupain and John Gollings.
A focus on Indigenous-European relationships underpins Facing New Worlds. By Kate Fullagar.
Paul Cézanne, Bill Henson and Simone Young, Australian cinema’s iconic women, and Feminist portraits by Kate Just.
This issue features Kate Beynon, Philosopher Cynthia Freeland, Geoffrey Gurrumul Yunupingu, John Tsiavis & Chris Lilley, UK's BP Portrait Award, Purchasing power in colonial Sydney and more.
A reflection on the National Portrait Gallery's first four years.
Max Dupain's unknown portrait subjects, phrenologist Madame Sibly, Indigenous-European relationships, Thomas Gainsborough and more.
Diana Warnes explores the lives of Hal and Katherine 'Kate' Hattam through their portraits painted by Fred Williams and Clifton Pugh.
Artist Kate Beynon reflects on the place of portraiture in her artistic career.
Celebrated Sydney-based photographer and performer William Yang was commissioned by the National Portrait Gallery to produce a new performance work that premiered at the opening of the Gallery's new building.
Dr Christopher Chapman describes the experimental exhibition Portraits + Architecture
Peter Wilmoth’s boy-journalist toolkit for antagonising an Australian political giant.
Michael Desmond examines the daguerreotype portraits created by American artist Chuck Close.
‘Dear Kate Just – I’m your feminist fan’. Interview by Sophia Cai.
Angus Trumble treats the gallery’s collection with a dab hand.
Former National Portrait Gallery Curator Magda Keaney was a member of the selection panel of the Schwepes Photographic Portrait Prize 2004 at the National Portrait Gallery London.
As the National Portrait Gallery opens its exhibition of portrait and figurative work by veteran photographer Sam Haskins, the artist reflects on the highlights of his fifty-year career so far.
Michael Desmond discusses Fred Williams' portraits of friends, artist Clifton Pugh, David Aspden and writer Stephen Murray-Smith, and the stylistic connections between his portraits and landscapes.
Gael Newton looks at Australian photography, film and the sixties through the novel lens of Mark Strizic.
Penelope Grist speaks to Robert McFarlane about shooting for the stars.
Dr Sarah Engledow puts four gifts to the National Portrait Gallery’s Collection in context.
Alexandra Roginski gets a feel for phrenology’s fundamentals.
Vanity Fair Editor David Friend describes how the rebirth of the magazine sated our desire for access into the lives of celebrities and set the standard for the new era of portrait photography.
Judith Pugh reflects on Clifton Pugh's approach to portrait making.
Joanna Gilmour examines the prolific output of Charles Balthazar Julien Févret de Saint-Mémin, and discovers the risk of taking a portrait at face value.
