A complete and comprehensive treatise on the art of crayon portraiture in black and white /

Mode of access: Internet.

Domestic portraiture; or, The successful application of religious principle in the education of a family, exemplified in the memoirs of three of the deceased children of the Rev. Legh Richmond.

"New York: Printed by R. & G. S. Wood."

A Portraiture of Quakerism : taken from a view of the moral education, discipline, peculiar customs, religious principles, political and civil economy, and character, of the Society of Friends /

Mode of access: Internet.

A portraiture of Quakerism : Taken from a view of the education and discipline, social manners, civil and political economy, religious principles and character, of the Society of Friends /

Microfilm. Ann Arbor, Mich., University Microfilms [n.d.] (American culture series, Reel 337.6)

Violet Woodville; or, The danseuse: a portraiture of human passions and characters.

Attributed also to Lady Marianne Malet.

The prince of pulpit orators: a portraiture of Rev. George Whitefield, M.A., illustrated by anecdotes and incidents.

Mode of access: Internet.

Horse portraiture: embracing breeding, rearing and training trotters, with their management in the stable and on the track, and preparation for races; including histories of the horse and horsemen.

Mode of access: Internet.

The self-portraiture of Jesus. Short studies in our Lord's pictorial teaching concerning himself.

Mode of access: Internet.

Home portraiture made easy /

Mode of access: Internet.

Pathological anatomy and self-portraiture

Why should an artist look to anatomical or pathological specimens as a reservoir of images with which to facilitate an articulation of his or her own artistic or personal identity? This is the starting point of a reflection on the disappearance of the artist and its transformation into a passive object. As a result, it is also a reflection into the blurring lines between subject and object. On the grounds of the work elaborated by the artist Lisa Temple-Cox and the critical look and comments made by the observer Harcourt, this paper is a first-hand attempt to understand the configuration of the self and the influence of the artistic intervention in the generation and representation of anatomical knowledge, resulting in an exploration into the intertwined processes that create both historical subjects and historical objects.

Landmark

An inverted figurative monument to Victorian governor Charles Joseph Latrobe. By creating the impression that a nineteenth century statue has been made to stand precariously on its head, the work seeks to address the tension between the authority of the monument (as a civic marker and a form of portraiture) and its ‘invisibility’ in public space while simultaneously addressing (and subverting) the ‘authorless’ nature of the figurative monument. The work was awarded a judge’s commendation in the 2005 Helen Lempriere National Sculpture Award and had strong responses from the viewing public and widespread media coverage. Ironically, this parodic monument had the effect of raising the profile of Charles La Trobe in the media in ways that a conventional monument would not. Landmark now endures as part of the permanent sculpture collection of Latrobe University, Melbourne.

Crop

Solo exhibition of sculptural works that use the portrait bust as a vehicle for problematising notions of subjectivity, authority and representation. The exhibition comprised three life-sized figurative busts, each portraits of the artist, sparsely positioned throughout the gallery space to convey a sense of isolation and abandonment. By emphasising the fragmented nature of the bust format by removal of all supports (ie. Socle, plinth or alcove) the works sought to address the vulnerability that frmes this apparently authoritative Enlightenment portrait format. In so doing the exhibition aimed to offer, by example, a new way of seeing and interpreting the portrait bust in history. The exhibition was exhibited at the Institute of Modern Art (Brisbane) and the Perth Institute of Contemporary Arts. Works fro the exhibition were included in group shows at Linden Centre for Contemporary Arts, Ballarat Fine Art Gallery. Work from the exhibition was purchased for the collection of MONA, Hobart.The exhibition received favourable reviews in Eyeline, Art and Australia and Machine magazines.

Flop II

An installation of sculptural objects that combine references to the portrait bust, drapery and socle with quotidian and incidental objects from the artist's studio. The work form part of the artist's ongoing self-portrait project in which he enacts formal strategies for tempering the authority conveyed by the self-portrait as an artistic genre.

Millwork

An exhibition of drawing and sculpture that extends the artist's process of self-portraiture, applying the historical form of the portrait roundel to the crown of the head as an exclusive subject matter.

Identifying with an avatar : a multidisciplinary perspective

Avatars perform a complex range of inter-related functions. They not only allow us to express a digital identity, they facilitate the expression of physical motility and, through non-verbal expression, help to mediate social interaction in networked environments. When well designed, they can contribute to a sense of “presence” (a sense of being there) and a sense of “co-presence” (a sense of being there with others) in digital space. Because of this complexity, the study of avatars can be enriched by theoretical insights from a range of disciplines. This paper considers avatars from the perspectives of critical theory, visual communication, and art theory (on portraiture) to help elucidate the role of avatars as an expression of identity. It goes on to argue that identification with an avatar is also produced through their expression of motility and discusses the benefits of film theory for explaining this process. Conceding the limits of this approach, the paper draws on philosophies of body image, Human Computer Interaction (HCI) theory on embodied interaction, and fields as diverse as dance to explain the sense of identification, immersion, presence and co-presence that avatars can produce.