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Wayne Lynch, 1968 (printed 2010)

Collection: National Portrait Gallery
Purchased 2010

Arcadia (Wayne Lynch and Bob McTavish), 1969 (reprinted 2011)

Gift of the artist 2011

Silent Strength

Wayne Blair, 2007 (printed 2014)

Gift of the artist 2017. Donated through the Australian Government's Cultural Gifts Program.

Marc Newson, 1990

Collection: National Portrait Gallery
Purchased 2012

Daddy Cool, Melbourne, 1974

Purchased 2005

The soul surfer’s manifesto

Barrels, bliss and brotherhood

Plenty, 2009

Balancing Act, 2019

Wayne Quilliam

The important part about it is is where it was captured. That's the Laura Quinkan Dance Festival, where our remote communities gather every two years to celebrate culture, to share knowledge, and to share stories.

The hoodie, 2021 (printed 2023)

Purchased with funds provided by Wayne Williams 2023

Trent Nathan and Shane Barr, 1995 (printed 2018)

Purchased with funds provided by Wayne Williams 2018

Bruce Tyrrell, 1986 (printed 2018)

Purchased with funds provided by Wayne Williams 2018

Peter Craven, 2015

Collection: National Portrait Gallery
Purchased with funds provided by Wayne Williams 2015

Tommy Emmanuel, 1993

Collection: National Portrait Gallery
Purchased with funds provided by Wayne Williams 2012

Yahoo Serious, 1989 (printed 2018)

Purchased with funds provided by Wayne Williams in memory of Peta Brownbrooke-Benjamins 2018

Bill Leak, 1984

Collection: National Portrait Gallery
Purchased with funds provided by Wayne Williams 2011

Boy with surfboard cross: David Rastovich, 1999 (printed 2005)

Gift of the artist 2009. Donated through the Australian Government's Cultural Gifts Program.

Returning the Gaze

Martin Manca, 2019

No shirt, no service

Bon Scott and Angus Young photographed by Rennie Ellis are part of a display celebrating summer and images of the shirtless male.

Annual Appeal

George Andronicus, 1985 (printed 2018)

Purchased with funds provided by Wayne Williams 2018

Naomi Watts, 2003

Gift of the artist 2004

Jimmy Barnes, 1986

Collection: National Portrait Gallery
Purchased with funds provided by Wayne Williams 2012

Hilary McPhee, 2015

Purchased with funds provided by Wayne Williams 2015

Grazia Gunn, 2014

Purchased with funds provided by Wayne Williams 2015

Neville Jeffress, 1987

Collection: National Portrait Gallery
Gift of Eileen M. Jeffress 2018

2023 Annual Appeal

In 2023 the Annual Appeal was focussed on a work by one of Australia's best loved and most successful portrait painters, Judy Cassab AO CBE, depicting model, entrepreneur and deportment icon, June Dally-Watkins OAM.

Steve Kilbey, 1981 (printed 2018)

Purchased with funds provided by Wayne Williams 2018

L. Ian Roach, 1994

Collection: National Portrait Gallery
Gift of the Australian Securities Exchange 2012
Donated through the Australian Government's Cultural Gifts Program

Alex Frayne

An interview with the photographer.

Alan Goldberg, 2014

Collection: National Portrait Gallery
Purchased with funds provided by Wayne Williams 2015

Donors

Jan Senbergs, 2015

Collection: National Portrait Gallery
Purchased with funds provided by Wayne Williams 2015

Supporters

The Saints, 1978 (printed 2018)

Purchased with funds provided by Wayne Williams 2018

Paul Cox, 2015

Collection: National Portrait Gallery
Purchased with funds provided by Wayne Williams 2015

Myles Nelson

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.

Michael Kimmelman

Michael Kimmelman, Chief Art Critic of The New York Times and author of Portraits: Talking with Artists at the Met, the Modern, the Louvre and Elsewhere, presented the National Portrait Gallery Third Anniversary Lecture on 2 March 2002. He was generously brought to Australia by the Gordon Darling Foundation and Qantas.

Nikki Toole

An interview with the photographer.

Mash-up

Penelope Grist delves into an insightful portraiture exhibition that asks: How do three artists see the same sitter?

2020 Annual Appeal

In 2020 the Annual Appeal was focussed on Sally Robinson's remarkable portrait of author Tim Winton.

Arcadia: Sound of the sea

One night in the spring of 1970 in an old house in Whale Beach, north of Sydney, John Witzig, Albe Falzon and David Elfick put together the first issue of Tracks, playing Neil Young’s album Harvest over and over again as they pasted up galleys of type.

National Photographic Portrait Prize 2022

The exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia's aspiring and professional portrait photographers and the unique nature of their subjects.

2021 Annual Appeal

In 2021 the Annual Appeal was focussed on Peter Brew-Bevan's portraits of athletes Turia Pitt, Leisel Jones OAM and Ellie Cole OAM.

Now Listen...

Artist Tessa Jones recalls creating her portrait of Daddy Cool and Mondo Rock singer and music producer, Ross Wilson.

2022 Annual Appeal

In 2022 the Annual Appeal was focussed on Mayatjara by Robert Fielding, a series of 24 photographs of Elders of the Anangu Pitjantjatjara Yankunytjatjara community.

National Photographic Portrait Prize 2023

The exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia's aspiring and professional portrait photographers and the unique nature of their subjects.

National Photographic Portrait Prize 2020

The exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia's aspiring and professional portrait photographers and the unique nature of their subjects.

Uncommon Australians

This exhibition showcases portraits acquired through the generosity of the National Portrait Gallery’s Founding Patrons, L Gordon Darling AC CMG and Marilyn Darling AC.

Mental as everything

Chris O'Doherty, also known as Reg Mombassa, is best-known for his Mambo imagery but he also paints a lot of self portraits.

Robyn Sweaney

Robyn's parents had two terriers, Wuff and Snuff. In spite of Snuff’s ominous name and a couple of close shaves – once, he jumped out of a moving car, and another time, on a long road trip, he was accidentally left behind at a petrol station – he outlived Wuff.

Moving still

Anne O’Hehir on the seductive power of the film still to reflect and shape ourselves and our cultural landscape.