Michele Aboud, commercial, fashion and portrait photographer, is a graduate of the Photographic College of London and UCLA.
1 portrait in the collection
Join The Saturday Paper’s chief political correspondent, Karen Middleton, for A Month of Saturdays – afternoon conversations bringing current affairs experts to the Gallery for engaging, real-time discussions about the topics that matter.
Collection: National Portrait Gallery
Commissioned with funds provided by Karen McLeod Adair and Anthony Adair 1999
The National Portrait Gallery is thrilled to announce nine finalists have been selected from the national call for entries for the Digital Portraiture Award 2017.
Jarinyanu David Downs (c. 1925-1995), Wangkajunga-Walmajarri painter, printmaker and preacher, lived a traditional life in the Great Sandy Desert of West Australia until he was a young man.
2 portraits in the collection
The National Portrait Gallery have selected the finalists for the Macquarie Digital Portraiture Award 2015.
The winners of the Macquarie Digital Portraiture Awards will be announced tomorrow morning at 10.00am at the National Portrait Gallery.
Collection: National Portrait Gallery
Commissioned with funds provided by Mr Anthony Adair and Ms Karen MacLeod
From 2015 to 2017 the Acquisition Fund was focussed on Reg Richardson AM by Mitch Cairns, a finalist in the Archibald Prize 2014, and a great example of minimalist portraiture.
James Holloway describes the first portraits you encounter when entering the Scottish National Portrait Gallery.
Drawn from some of the many donations made to the Gallery's collection, the exhibition Portraits for Posterity pays homage both to the remarkable (and varied) group of Australians who are portrayed in the portraits and the generosity of the many donors who have presented them to the Gallery.
Michael Desmond reveals the origins of composite portraits and their evolution in the pursuit of the ideal.
Sarah Engledow picks some favourites from a decade of the National Photographic Portrait Prize.
Diana O’Neil samples the tartan treats on offer in the Scottish National Portrait Gallery.
Sharon Peoples contemplates costumes and the construction of identity.
Penelope Grist reminisces about the halcyon days of a print icon, before the infusion of the internet’s shades of grey.
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