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You, looking at me

Elspeth Pitt chats with Archibald Prize-winning artist Yvette Coppersmith about performance, coincidences and the intersection of art and life.

The National Photographic Portrait Prize turns ten

It is now a little more than 178 years since the French Academy of Sciences was made aware of the invention of the daguerreotype process.

The selfie stick

Last week ABC Television came to interview me about selfie sticks. The story was prompted by the announcement that the Metropolitan Museum of Art in New York has lately prohibited the use of these inside their galleries. So far as I am aware we have not yet encountered the phenomenon, but no doubt we will before too long.

Every flap, fold and bulge

Portrait Donors

Boyd to man

Christopher Chapman looks at influences and insight in the formative years of Arthur Boyd.

A feast of friends

John Singer Sargent: a painter at the vanguard of contemporary movements in music, literature and theatre.

Post digital

Tegan McAuley looks at the evolution of video portraiture.

The long game

Penelope Grist spends some quality time with the Portrait Gallery’s summer collection exhibition, Eye to Eye.

The Vanity model

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.

The play’s the thing

Penelope Grist charts an immersive path through Stuart Spence’s photography.

Less than six degrees of separation

Anne Sanders finds connections in Inner Worlds between Hungarian expatriates and the development of psychoanalysis in Australia.

Finding Mrs Frisby

Robyn Sweaney's quiet Violet obsession.

Painting them gently

Penny Grist on motivation, method and melancholy in the portraiture of Darren McDonald.

Bill and Ted's excellent portrait.

Sarah Engledow on Messrs Dobell and MacMahon and the art of friendship.

In and out of focus

Gael Newton looks at Australian photography, film and the sixties through the novel lens of Mark Strizic.