Includes bibliographical references and index.

Introduction: The time of the portrait is now / Melinda Hinkson -- PART I: The work of the imagination. Rembrandt, or the portrait as encounter / Didier Maleuvre -- Pictures for our time and place: Reflections on painting in a digital age / Melinda Hinkson -- Diasporic looking: Portraiture, diaspora and subjectivity / Gali Weiss -- PART II: Interfaces. The self-portrait and the film and video essay / John Conomos -- The mutable face / Michele Barker and Anna Munster -- BarkTV: Portrait of an innovator / Jennifer Deger -- Index.

Figure 1.1: Portrait of Johannes Wtenbogaert (detail), Rembrandt Harmensz. van Rijn, 1633, 130 x 103 cm.; Figure 1.2: Self-portrait as the Apostle Paul, Rembrandt Harmensz. van Rijn, 1661, oil on canvas, 91 x 77 cm.; Figure 2.1: Left: Boatmen moored on a lakeshore, Adam Pynacker, 1668; Right: Proposal for landscaped cosmos, Sam Leach, 2010. ; Figure 2.2: Untitled #2, from the series Yooralla at twenty past three, Micky Allan, 1978, watercolour and coloured pencil on silver gelatin print, 27.7 x 35.2 cm.

Figure 2.3: Large interior 173 (Micky), Jude Rae, 2005, oil on linen, 180 x 120 cm, winner of the 2005 Portia Geach Memorial Award for portraiture. Figure 2.4: Drawing 101 (naked), Jude Rae, 2010, willow charcoal on Fabriano paper, 220 x 140 cm.; Figure 2.5: Sorcery painting (autumn echidna), Vanessa Barbay, 2011, echidna and rabbit-skin glue on canvas, 84 x 80 cm.; Figure 3.1: An ocean of bright clouds, an ocean of solemn clouds, Lindy Lee, 1995, photocopy and acrylic on board, 205 x 143 cm.

Figure 3.2: Birth and death, Lindy Lee, 2003, Installation Artspace, Sydney, inkjet print and acrylic on Chinese accordion books, installation dimensions variable. Figure 3.3: Aaron, Gali Weiss, 2000, solvent transfer, charcoal, graphite, 76 x 56.5 cm.; Figure 3.4: MotherDaughter (as self-portrait), Gali Weiss, 2008, watercolour, solvent transfer, charcoal, graphite, 75 x 75 cm each of 6 panels.; Figure 3.5: FatherDaughter, Gali Weiss, 2008, ink and watercolour wash, solvent transfer, charcoal, graphite, 52.5 x 37 cm each of 14 panels.

Figure 3.5a: FatherDaughter (detail), Gali Weiss, 2008, ink and watercolour wash, solvent transfer, charcoal, graphite, 52.5 x 37 cm each of 14 panels. Figure 3.6: MotherSon, Gali Weiss, 2008, solvent transfer, graphite, 37 x 30 cm each of 15 panels.; Figure 3.7: MotherSon II, Gali Weiss, 2008, black and white and colour solvent transfer, 60 x 40.5 cm each of four panels.; Figure 3.8: MotherSon III, Gali Weiss, 2008, black and white and colour solvent transfer, 60 x 40.5 cm each panel.; Figure 4.1: Autumn song (still), John Conomos, 1998, SP Beta, 23 mins duration ...

Imaging Identity presents potent reflections on the human condition through the prism of portraiture. Taking digital imaging technologies and the dynamic and precarious dimensions of contemporary identity as critical reference points, these essays consider why portraits continue to have such galvanising appeal and perform fundamental work across so many social settings. This multidisciplinary enquiry brings together artists, art historians, art theorists and anthropologists working with a variety of media. Authors look beyond conventional ideas of the portrait to the wider cultural contexts, governmental practices and intimate experiences that shape relationships between persons and pictures. Their shared purpose centres on a commitment to understanding the power of images to draw people into their worlds. Imaging Identity tracks a fundamental symbiosis -- to grapple with the workings of images is to understand something vital of what it is to be human.

Online resource; title from pdf title page (ProQuest Ebook Central, viewed April 27, 2017).

English.

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