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Krysia Kitch reviews black chronicles at the National Portrait Gallery, London.
Christopher Chapman takes a trip through the doors of perception, arriving at the junction of surrealism and psychoanalysis.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
Anne O’Hehir on the seductive power of the film still to reflect and shape ourselves and our cultural landscape.
Sharon Peoples contemplates costumes and the construction of identity.
Glynis Jones on the Powerhouse’s retrospective of one of Australia’s foremost fashion reportage and social photographers.
Despite once expressing a limited interest in the self portrait, the idea of it has figured strongly in much of Tracey Moffatt's work and has done so in some of her most distinctive and compelling images.
Australian character on the market by Jane Raffan.
Dr Sarah Engledow examines a number of figures in the collection of the National Portrait Gallery who were pioneers or substantial supporters of the seminal Australian environmental campaigns of the early 1970s and 1980s.
Joanna Gilmour profiles the life and times of the shutter sisters May and Mina Moore.
Jane Raffan investigates auction sales of self portraits nationally and internationally.
Aircraft designer, pilot and entrepreneur, Sir Lawrence Wackett rejoins friends and colleagues on the walls of the National Portrait Gallery.
Alexandra Roginski reveals a forceful feminist figure in the colonial period’s slippery science, phrenology.
Sarah Engledow trains her exacting lens on the nine photographs from 20/20.
Works by Arthur Boyd and Sidney Nolan bring the desert, the misty seashore and the hot Monaro plains to exhibition Open Air: Portraits in the landscape.
Inga Walton delves into the bohemian group of artists and writers who used each other as muses and transformed British culture.