This article investigates the qualities of moving image portraiture that also illuminate the wider genre of photographic portraiture. The performance of portrait subjects over time brings attention to the triangulation of demand generated through the interaction of artist, subject, and viewer. Serial and group moving image portraiture engages with the power of global culture industries by imbricating these regimes with individual expression and personal desire. This article considers work by CandiceBreitz,RinekeDijkstra,FengFeng, and ThomasStruth. This recent portraiture is framed by two reference points: Andy Warhol’s Screen Tests from the mid-1960s and a series of television station identifications that show the faces of viewers, the Special Broadcasting Service (SBS) Face IDs. The Screen Tests have been chosen as seminal works that continue to have a significant impact on the genre. The SBS Face IDs, by contrast, have been selected because they operate at the limit of duration and subject presence.

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