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blood/memory: Brenda & Christopher I (Gurindji/Malngin/Mudburra; Mara/Ngarrindjeri/Ritharrngu; Anglo-Australian/Chinese/German/Irish/Scottish) 2021, 2022 (printed 2023)

Purchased 2023

Alter ego

Tom Fryer surveys the twentieth-century architectural project, and finds representation and the portrait were integral elements.

Janet Dawson

When soulmates Janet Dawson and Michael Boddy moved from Sydney to a property, Boddy was clear about why: ‘Our marriage is one long conversation - we moved to the bush so we could talk to each other without so many interruptions.’

2020 Annual Appeal

In 2020 the Annual Appeal was focussed on Sally Robinson's remarkable portrait of author Tim Winton.

Some women you may not know

‘Everybody’s lives are built by so many influences, and for me, it is writers, artists and activists who have influenced how I think about the world.’

Past present

Krysia Kitch celebrates Oodgeroo Noonuccal.

Self-effacing

Michael Wardell samples the fare in the University of Queensland National Self-portrait Prize.

Air wear

Aviation carried women’s roles in society to greater heights – fashion followed suit.

Time and light

This sample of 56 photographs takes in some of the smallest photographs we own and some of the largest, some of the earliest and some of the most recent, as well as multiple photographic processes from daguerreotypes to digital media.

Annual Appeal

Citizen Kenne

April Thompson explores an exhibition of Ingvar Kenne’s global portrait project.

Poets' Portraits

The Portrait Gallery's paintings of two poets, Les Murray and Peter Porter, demonstrate two very different artists' responses to the challenge of representing more than usually sensitive and imaginative men.

Portrait Donors

Material culture

The Rajah Quilt’s narrative promptings are as intriguing as the textile is intricate.

The Lawrence lustre

Angus Trumble salutes the glorious portraiture of Sir Thomas Lawrence.

A reflection on conversation pieces

There is in the collection of the Yale Center for British Art in New Haven, Connecticut, an English painting, datable on the basis of costume to about 1745, that has for many years exercised my imagination.