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Anne Sanders and Christopher Chapman bring passionate characterisation to Express Yourself, the Portrait Gallery collection exhibition celebrating iconoclastic Australians.
Blue Mountain, Owner, Trainer, Jockey, James Scobie 1887 by Frederick Woodhouse Snr. is a portrait of James Scobie, well known jockey and eminent horse trainer.
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.
Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.
Joanna Gilmour profiles Violet Teague, whose sophisticated works hid her originality and non-conformity in plain sight.
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.
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.
Gumbaynggirr artist Aretha Brown talks street art, collaboration and ghost stories with First Nations Curator and Meriam woman, Rebecca Ray.
In his speech launching the new National Portrait Gallery building on 3 December 2008, then Prime Minister Kevin Rudd set the Gallery in a national and historical context.
Peter Wilmoth’s boy-journalist toolkit for antagonising an Australian political giant.
Dr Anne Sanders NPG Curatorial Researcher investigated the lives of the pioneering psychologists whose portraits are featured in Inner Worlds.
Henry Mundy's portraits flesh out notions of propriety and good taste in a convict colony.
‘Everybody’s lives are built by so many influences, and for me, it is writers, artists and activists who have influenced how I think about the world.’
Joanna Gilmour discovers that the beards of the ill-fated explorers Burke and Wills were as epic as their expedition to traverse Australia from south to north.
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.