A collection of thirty-seven caricatures by the artist Joe Greenberg capture the heroes and villians of Australian business in the 1980s.
Sarah Engledow previews the beguiling summer exhibition, Idle hours.
Angus Trumble reflects on the force of nature that was Helena Rubinstein.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
Aimee Board traces Judy Cassab’s path to the Australian outback, arriving at the junction of inspiration and abstraction.
English artist Benjamin Duterrau took up the cause of the Indigenous peoples of Tasmania with his detailed and sympathetic renderings.
The photographs from Matthew Sleeth's tour of duty series look more like advertisements than images of war.
Penelope Grist spends some quality time with the Portrait Gallery’s summer collection exhibition, Eye to Eye.
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
Sarah Engledow lauds the very civil service of Dame Helen Blaxland.
As a convict Thomas Bock was required to sketch executed murders for science; as a free man, fashionable society portraits.
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.
Dr Sarah Engledow writes about the larger-than-life Australian performance artist, Leigh Bowery.
Jaynie Anderson reflects on her experience as sitter for Reshid Bey’s 1962 portrait.
Athol Shmith’s photographs contributed to the emergence of a new vision of Australian womanhood.
