Brenda L Croft, an indigenous artist, is a member of the Gurindji nation, from Daguragu/Limbunya, NT, born in 1964 in Perth WA. She lived in northern NSW before completing her schooling in Canberra, moving to Sydney in 1985 to commence studies at Sydney College of the Arts. Croft's early Sydney days involved working with a variety of community organisations and indigenous media including Radio Redfern/Radio Skid Row (1986-90); Metro Public TV (1988); and SBS-TV and ABC-TV (1989). In 1988 she was responsible for official photographic stills documentation at the Aboriginal National Theatre Trust's Production of "The Keepers", and, with Oliver Strewe, at the 5th Festival of Pacific Arts, Townsville. In 1989, with Michael Riley she was responsible for video documentation at the 2nd Black Playwrights Conference, Sydney.

Along with nine other Sydney based indigenous artists, she was a founding member of Boomalli Aboriginal Artists Co-operative (1987), Sydney, and employed as its General Manager (1990-6). During her tenure with Boomalli Croft travelled to Japan (1996), on an Asialink initiative as the sole indigenous arts administrator; France (1992), Britain & Scotland (1990) on networking and liaison tours, the latter from which True Colours evolved. Overseas travel has also included: the USA (1989), networking with Native American individuals and organisations; and Norway (1990) to attend the 2nd International Indigenous Women's Conference at Karasjok, hosted by the indigenous Sami community.

Since 1986 Croft has been a practising artist with work exhibited in group and solo exhibitions. Croft's art practice, encompassing photographic, mixed media installation and performance. Her work is held in state and federal public collections, including the National Gallery of Australia, Art Gallery of NSW, and Artbank. In 1995 she was awarded a Master of Art Administration from the College of Fine Arts, University of New South Wales. In 1996/7, with indigenous curator and writer, Hetti Perkins, and Victoria Lynn, for the Art Gallery of New South Wales, Croft co-curated fluent, Australia's representation at the 47th Venice Biennale. fluent represented the work of Emily Kame Kngwarreye, Yvonne Koolmatrie and Judy Watson, to critical acclaim from national and international press during both its showing at Venice and during its Australian tour.

Selected group exhibitions include: (1998) Re:take National Gallery of Australia; (1997) Guwanyi: Stories of the Redfern Aboriginal Community Museum of Sydney; First Person Plural: Contemporary Australian Aboriginal Art Betty Rymer Gallery, The School of the Art Institute of Chicago, 2 May - 23 July; (1996-7)Abstracts: New Aboriginalities Watershed Bristol, and regional tour, Britain; (1995) Mixed Identities: AFRICUS Johannesburg Biennale South Africa; (1995-7)Native Titled Now Tandanya National Aboriginal Cultural Institute Adelaide & national tour; (1994-6)True Colours: Bluecoat Gallery, Liverpool; Leicester Gallery, South London Gallery; (1992) Conference Call with Adrian Piper(USA) for The Boundary Rider: the 9th Biennale of Sydney which was also exhibited at Camerawork, London (1994).

Solo exhibitions include: (1998) In My Mother's Garden (concurrent with Michael Riley) Gallery Gabrielle Pizzi, Melbourne; In My Father’s House (concurrent with Destiny Deacon) Australian Centre for Photography Sydney; (1994-6) Strange Fruit The Performance Space Sydney (sections toured Australia and Britain (1996/97); (1993) The Big Deal is Black (concurrent with Destiny Deacon) Australian Centre for Photography Sydney.

Overseas residencies include: (1996-7) Australia Council Greene Street Studio, New York, USA; (1996) Chicago Artists International Program, Ethnic Communities Exchange Program USA (Ist Australian recipient); (1993) Banff Centre for the Arts Canada. During her time in the USA from 1996-7, Croft presented a series of lectures at the Chicago Cultural Centre; Asian American Studies Department at New York University; Department for Media & Cultural Studies, New York University; and contemporary art space, Art in General, New York.

Croft's work has been commissioned by the Sydney City Council for the Living City/Sydney Open Museum/Sydney Sculpture Walk (from an initial field of more than 50 artists), to commence in late 1998. Croft was also the recipient of the 1998 Indigenous Arts Fellowship from the NSW Ministry for the Arts. Her most recent work encompasses issues including The Stolen Generations, Christianity, Indigenous spirituality, representation, dispossession, and contemporary indigenous urban life. She has recently progressed into the area of digital media, with intentions to design websites, and CD-ROM's. Croft is also in the preliminary stages of writing her father's biography - in conjunction with the story of his colleague Alec Kruger, as members of The Stolen Generations.

In addition to her art practice, Croft works as a freelance curator and writer; part-time university lecturer; undertaking consultancies; and presenting guest lectures nationally and internationally. Most recently, Croft has been invited to participate on a panel with international speakers from Canada, Mexico, the Philippines, at the College Art Association (CAA) conference at University California Irvine in Los Angeles in February 1999, on Dissident Art and International Art Markets.

PO Box 320 Petersham NSW 2049 Australia
Tel: +61 2 9569 6716 Fax: +61 2 9569 6185 email: brendal@hutch.com.au

Croft has also contributed to numerous Boards and Advisory Committees, including: (1996) Aboriginal & Torres Strait Islander Board, Australia Council; (1995-6) ATSI Arts Advisory Committee, Cultural Olympiad, SOCOG & Tulagulla Limited Executive Committee. Chairperson; (1993-5) National Museum of Australia ATSIAC; (1993-4) Regional Galleries Association of New South Wales; (1992) Art Museums of Australia