Scott Redford discusses his dynamic portrait commission of motorcycling champion and 2008 Young Australian of the Year Casey Stoner.
Sarah Engledow casts a judicious eye over portraits in the Victorian Bar’s Peter O’Callaghan QC Portrait Gallery.
Christopher Chapman highlights the inaugural hang of the new National Portrait Gallery building which opened in December 2008.
Penelope Grist explores the United Nations stories in the Gallery’s collection.
One half of the team that was Eltham Films left scarcely a trace in the written historical record, but survives in a vivid portrait.
Alison Weir explores the National Portrait Gallery, London and the BP Portrait Award to find what makes a good painted portrait - past and present.
Sandra Bruce gazes on love and the portrait through Australian Love Stories’ multi-faceted prism.
Christopher Chapman absorbs the gentle touch of Don Bachardy’s portraiture.
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.
Jean Appleton’s 1965 self portrait makes a fine addition to the National Portrait Gallery’s collection writes Joanna Gilmour.
Athol Shmith’s photographs contributed to the emergence of a new vision of Australian womanhood.
Sarah Engledow describes the fall-out once Brett Whiteley stuck Patrick White’s list of his loves and hates onto his great portrait of the writer.
An exhibition of humanness in ten themes by Penelope Grist.
Stephen Valambras Graham traverses the intriguing socio-political terrain behind two iconic First Nations portraits of the 1850s.
Joanna Gilmour looks beyond the ivory face of select portrait miniatures to reveal their sitters’ true grit.
