Works by Arthur Boyd and Sidney Nolan bring the desert, the misty seashore and the hot Monaro plains to exhibition Open Air: Portraits in the landscape.
Sarah Engledow looks at three decades of Nicholas Harding's portraiture.
An exhibition of humanness in ten themes by Penelope Grist.
Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.
Nici Cumpston immerses herself in the collective vision of the National Photographic Portrait Prize 2020.
Projecting the splendour of the empire, and the resolve of its subjects, the bust of William Birdwood keeps a stiff upper lip in the National Portrait Gallery.
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.
Sarah Engledow likes the manifold mediums of Nicholas Harding’s portraiture.
Anne Sanders finds connections in Inner Worlds between Hungarian expatriates and the development of psychoanalysis in Australia.
This edited version of a speech by Andrew Sayers examines some of the antecedents of the National Portrait Gallery and set out the ideas behind the modern Gallery and its collection.
Australian character on the market by Jane Raffan.
Robyn Sweaney's quiet Violet obsession.
Dr. Sarah Engledow explores the context surrounding Charles Blackman's portrait of Judith Wright, Jack McKinney and their daughter Meredith.
Ensconced and meditative in crisp Tasmania, Joanna Gilmour pays tribute to passionate green advocate and photographer Olegas Truchanas.
Jane Raffan investigates auction sales of self portraits nationally and internationally.
Most well-regarded pictures of chickens show them dead. A reliable way to tell if a chicken in a painting is dead is to check if it’s hanging upside down, because unlike, say, cockatoos, chickens don’t practise inversion for enjoyment in life.
