Portrait photography, by definition, is a collaboration. It is also the grandest of lies masquerading as the ultimate truth.
NPPP judge Robert Cook provides irreverent insight into this year’s fare, and having to be a bit judgemental.
Penelope Grist finds inspiration in pioneering New Zealand artist, Frances Hodgkins.
The art of Australia’s colonial women painters affords us an invaluable, alternative perspective on the nascent nation-building project.
Tenille Hands explores a portrait prize gifted to the National Screen and Sound Archive.
Kim Sajet reflects on two portraits with a power that extends beyond gallery walls.
Sarah Engledow arrives at the junction of fate and hope in Sarah Ball’s poignant Immigrants series.
Anne Sanders and Christopher Chapman bring passionate characterisation to Express Yourself, the Portrait Gallery collection exhibition celebrating iconoclastic Australians.
Jennifer Coombes explores the lush images of Picnic at Hanging Rock, featuring Anne-Louise Lambert’s Miranda, the face of the film.
Portrait is the preeminent journal of Australian and international portraiture.
Ralph Heimans on his portraits, and features on Louis Kahan, Helena Rubinstein, Judy Cassab and Tasmanian convicts.
Paul Cézanne, Bill Henson and Simone Young, Australian cinema’s iconic women, and feminist portraits by Kate Just.
