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Jerrold Nathan's portrait of Jessie Street shows the elegant side of a many-faceted lady.
Andrew Sayers asks whether a portrait can truly be the examination of a life.
Joanna Gilmour explores the life and times of one of Melbourne's early socialites, Jessie Eyre Williams.
This issue features Hermannsburg pottery, Nicole Kidman, Ken Done, Jessie Street, two gladiators, the Portraits+Architecture exhibition and more.
Penelope Grist explores the United Nations stories in the Gallery’s collection.
Portrait photography, by definition, is a collaboration. It is also the grandest of lies masquerading as the ultimate truth.
Michael Desmond investigates the street art of Shepard Fairey, who was catapulted to fame during the 2008 presidential election with his resonant image of Barack Obama.
Johanna McMahon revels in history and mystery in pursuit of a suite of unknown portrait subjects.
Gumbaynggirr artist Aretha Brown talks street art, collaboration and ghost stories with First Nations Curator and Meriam woman, Rebecca Ray.
Sandra Bruce explores a new acquisition that has within it a story of interconnectivities in the Australian art world.
Sarah Engledow is seduced by the portraits and the connections between the artists and their subjects in the exhibition Impressions: Painting light and life.
In conversation with Aretha Brown, Pieter Roelofs on Vermeer, humanoid robots, the nationwide search for Archibald portraits, and 25 years of collecting at the National Portrait Gallery.
Athol Shmith’s photographs contributed to the emergence of a new vision of Australian womanhood.
Angus Trumble gazes at the once bright star of photographer Ruth Hollick.
Inga Walton on the brief but brilliant life of Hugh Ramsay.
The Tate/SFMOMA exhibition Exposed examined the role of photography in voyeurism and how it challenges ideas of privacy and propriety.