Selected CV. Full CV available upon request.

2024	Gough Whitlam & Malcolm Fraser Chair of Australian Studies, Harvard University, Cambridge, USA
2022-3	Australia Council for the Arts, Arts Projects For Individuals, Recipient – ‘Naabami (thou shall/will see): Barangaroo (army of me)’ in ‘The National 4′, Art Gallery of NSW, 24 March – 23 July 2023
2022	AAANZ Early Career Publishing Award ANU OSP (Outside Study Program), Semester 2
2021	AIAH Art History Research Grant Recipient
2021	UNSW Dean’s Award for Outstanding Thesis Recipient
2021	Doctor of Philosophy, UNSW Sydney | Australia
2019	Arts ACT Arts Activities grant, (Canberra Glassworks residency, 2019; solo exhibition, Canberra Museum + Gallery, 2021/2)
2018	AAANZ (Art Association of Australia and New Zealand), Best Art Writing by an Indigenous Australian Prize, for Still In My Mind: Gurindji Location, Experience, and Visuality in Feminist Perspectives on Art (Routledge, 2018), collaborative exhibition (Brisbane: UQ Art Museum, 2017)
2017	Honouring Cultures: ACT Arts Residency, 4 – 29 September, Canberra Glassworks
2015	National Indigenous Art Award, Fellowship, Aboriginal and Torres Strait Islander Arts, Australia Council for the Arts
2015	Berndt Foundation Postgraduate Award, University of Western Australia
2015	University Postgraduate Award (UPA), UNSW Art & Design Australia
2014	Postgraduate Research Student Support (PRSS) scheme, UNSW Art & Design Australia
2013	Visual Artist of the Year, Deadlys’ National Aboriginal and Torres Strait Islander Music, Sport, Entertainment and Community Awards<
2012	Australian Research Council Discovery Indigenous Award
2011-12	Indigenous Fellowship, National Film and Sound Archives, Canberra
2009	Honorary Doctorate (Visual Arts), Sydney College of the Arts, University of Sydney
2001	Alumni Award, College of Fine Arts, University of New South Wales
1995	Master of Art Administration, College of Fine Arts, University of NSW, Sydney
1985	Bachelor of Visual Arts, Sydney College of the Arts (first year completed, course deferred)
1981	ACT Year 12 Certificate, Daramalan College, Canberra

Six best/most significant research publications/creative works

2021	Kurrwa (stone tool/axehead) to Kartak (container, cup, billycan, pannikin): hand-made/held-ground. An enduring collaborative practice-led research journey representing a distinct Australian First Nations Storying/Storywork and First Nations Performative Autoethnography as subalter/N/ative archive and methodology – created from the rememorying, re/imagined standpoint of a Gurindji|Malngin|Mudburra|Anglo-Australian|Chinese|German|Irish|Scottish woman. PhD Thesis, awarded UNSW Dean’s Award for Outstanding PhD Thesis (2021); selected for AAANZ Early Career Publishing Program with Taylor & Francis (2022)
2019	Croft, Brenda L., Toussaint, Sandy, Meakins, Felicity, McConvell, Patrick, “‘For the children…’: Aboriginal Australia, cultural access, and archival obligation” in Archival returns: Central Australia and beyond (eds. Edited by Linda Barwick, Jennifer Green, and Petronella Vaarzon-Morel), LD&C Special Publication 18 (Honolulu, Hawai’i & Sydney, Australia: University of Hawai’i Press & Sydney University Press), Chapter 9, pp 173-19, http://hdl.handle.net/10125/24883/. 25% contribution towards essay. Archival returns was awarded the 2020 Mander Jones Award from the Australian Society of Archivists for ‘the publication making the greatest contribution to the archives profession in Australia, written or edited by a person in their own right, Category 1B.’
2018	Still in my mind: Gurindji location, experience and visuality’, in Feminist Perspectives on Art: Contemporary Outtakes (eds. Millner, Jacqueline, & Moore, Catriona), (Routledge: Oxon, UK; New York, USA), pp 69 – 78. ISBN: 9781138061781
2018	Croft, Brenda L. The instability of truth: aspects of developing a specific Indigenous methodology on experimental practice-led research, in Visual Anthropology Review – Special Issue: Hyperrealism and Other Indigenous Forms of ‘Faking it with the Truth’, Spring 2018, Vol, 34, Iss. 1, pp. 15 – 26, 27 May, https://doi.org/10.1111/var.12149

Creative works

Solo Exhibitions – selected

2023	Naabami (thou shall/will see): Barangaroo (army of me), Sydney Festival (dual sites) – Barangaroo Precinct; and in ‘Dyin Nura (Women’s Place)’, Parramatta Park, Sydney
2021-22	hand/made/held/ground, Canberra Museum + Gallery, 29 October 2021 – 22 January 2022
2018	heart-in-hand, Canberra Contemporary Art Space, 13 July – 8 September
2016	subalter/N/ative dreams, Stills Gallery, Sydney, 27 July – 27 August; creative-led PhD research exhibition

Group exhibitions – selected

2023	Naabami (thou shall/will see): Barangaroo (army of me), in ‘The National 4’, Art Gallery of NSW, 24 March – 23 July
2023	National Photographic Portrait Prize, National Portrait Gallery, Canberra, 17 June – 2 October
2020 – 21	Know My Name: Australian Women Artists 1900 to Now (Part One), National Gallery of Australia, Canberra, 14 November 2020 – 9 May 2021
2020	National Photographic Portrait Prize, National Portrait Gallery, Canberra, 6 March – 27 September
2017	‘Still in my mind: Gurindji location, experience and visuality’, in partnership with Karungkarni Art and Culture Aboriginal Corporation, UNSW Galleries, UNSW Art & Design, (5 May – 29 July) and UQ Art Museum, UQ, (12 August – 29 October), with support from ARC Centre of Excellence for the Dynamics of Language (CoEDL) UQ Node. Touring nationally 2018 – 2022. Creative-led doctoral research collaborative exhibition. Curator and participating artist. Proposed international tour commences 2024.

Appointments, including consultancies – selected

2024	Gough Whitlam & Malcolm Fraser Chair of Australian Studies, Departments of History of Art & Architecture, and Art, Film & Visual Studies; Guest lectures into the HU Native American Programs Professor, Indigenous Art History and Curatorship, Centre for Art History and Art Theory, School of Art and Design, College of Arts and Social Sciences, Australian National University. Ongoing appointment.
2023	Kluge Ruhe Aboriginal Art Collection Advisory Committee, University of Virginia, Charlottesville, MA, USA. Returning member, was on inaugural board.
2021	Professor, Indigenous Art History and Curatorship, Centre for Art History and Art Theory, School of Art and Design, College of Arts and Social Sciences, Australian National University.
2018-21	Associate Professor, Professor, Indigenous Art History and Curatorship, Centre for Art History and Art Theory, School of Art and Design, College of Arts and Social Sciences, Australian National University.
2016-22	Adjunct Research Fellow, National Institute for Experimental Art (NIEA), UNSW Art + Design.
2016-17	A Change is Gonna Come: 50th Anniversary of the 1967 Referendum/25th Anniversary of the Mabo Decision, Senior Curator, Aboriginal and Torres Strait Islander Programs, National Museum of Australia, 1 December 2016 – 31 May 2017.
2014-16	Yijarni: True Stories from Gurindji Country, Gurindji History Project. Documentary photographer, work reproduced on front cover of publication and throughout publication.
2012 – 16	Senior Research Fellow, National Institute of Experimental Arts, UNSW Art + Design.
2012-13	Sakahàn:InternationalIndigenousArt, Curatorial Advisor (Australia). The largest-ever global survey of contemporary Indigenous art, staged at the National Gallery of Canada (NGC), May 17 2012 – September 2 2013
2009 – 12	Senior Lecturer, Indigenous Art, Culture and Design – Art, Architecture and Design (AAD)/David Unaipon Centre for Indigenous Education and Research (DUCIER), University of South Australia.
2010 – 11	Project Manager, 45th Gurindji Freedom Day Commemoration, Kalkaringi + Daguragu communities, Northern Territory. Successfully secured ($656,692 through the Aboriginal Benefits Account, NT, and Department of Families and Community Services & Indigenous Affairs to stage 3 day festival in my patrilineal community.
2010 – 11	Stop(the)gap/Mind(the)gap: international Indigenous art in motion, Adelaide Film Festival 2011, with Samstag Museum of Art, UniSA and associated venues. Guest curator commissioned by Adelaide Film Festival and Samstag Museum of Art. Lead curator with Megan Tamati-Quennell (Aotearoa/NZ), David Garneau (Canada) and Kathleen Ash-Milby (USA). Artists: Rebecca Belmore (Canada), Dana Claxton (Canada), Nova Paul (Aotearoa/NZ), Alan Michelson (USA), Lisa Reihana (Aotearoa/NZ), Warwick Thornton (Australia). https://www.unisa.edu.au/siteassets/episerver-6-files/global/samstag/newsevents/baffstopthegapmr.pdf; https://www.youtube.com/watch?v=yBn6dXYZHRo. Symposium with First Nations film-makers and actors, Looking Forward/looking Blak: Indigenous Identity in Australian Cinema; https://www.youtube.com/watch?v=MVOV0P3cCO4; https://www.youtube.com/watch?v=5pWPia59OjQ
2002 – 09	Senior Curator, Aboriginal and Torres Strait Islander Art, National Gallery of Australia. Inaugural First Nations Senior Curator. Successfully expanded the ATSI Art Department from solo to four First Nations staff members; initiated the Wesfarmers Emerging Curators Traineeship and Leadership Program; established and curated the inaugural National Indigenous Art Triennial: CultureWarriors; Executive Producer and Presenter for 9 x 27 minute documentary series Culture Warriors with SBS/NITV; curated exhibitions and publications; developed collection, public programs, attendance and community outreach; participated on regional, and national and international advisory committees/boards; visited artists and communities throughout all states and territories of Australia; presented guest lectures and Keynote Addresses nationally and internationally; published extensively.
2003 – 06	Australian Indigenous Art Commission, Paris, France. Co-curator with Hetti Perkins. A cultural exchange from the federal Government to the French Government, facilitated through the Australia Council for the Arts. The works of artists Ningura Napurrula, Lena Nyadbi, Judy Watson, Gulumbu Yunupingu, John Mawurndjul, Paddy Nyunkuny Bedford, Michael Riley and Tommy Watson were integrated into the facades, ceilings and rooftops of the Musée du quai Branly, Paris, France. ‘The French Connection’ (2007), documented the project.
2005	Emerging Indigenous Curators Program, 51st Venice Biennale, Italy. Senior Curator Mentor for five First Nations emerging curators, which included: Tony Albert (Queensland Art Gallery of Modern Art, Brisbane), Leilani Bin-Juda (Gab Titui Cultural Centre/Torres Strait Regional Authority, Torres Strait, Stephen Gilchrist (National Gallery of Victoria), Keith Munro (Museum of Contemporary Art, Sydney) and Cara Pinchbeck (Art Gallery of New South Wales).
2003	‘South West Central: Indigenous art from south Western Australia 1833-2002’, Art Gallery of Western Australia. Guest curator for the 2003 Perth International Art Festival.
2000	‘Beyond the pale: contemporary Indigenous art’, Adelaide Biennial of Australian Art, Art Gallery of South Australia. Adelaide International Arts Festival, Guest curator.
1999	National Indigenous School in New Media Art, Australian Network for Art & Technology (ANAT), Darwin, N T. Project Manager.
1999 – 2001	Curator of Indigenous Art, Art Gallery of Western Australia, Perth, WA.
1997	Curatorial team (with Hetti Perkins & Victoria Lynn), ‘fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie & Judy Watson’, Australian Pavilion, 47th Venice Biennale, Italy.
1996/7	Greene Street Studio, New York, USA, Visual Arts/Crafts Board, Australia.
1996	International Cultural Exchange, Chicago International Arts Program, USA
1990 – 96	General Manager, Boomalli Aboriginal Artists Co-operative, Sydney
1987	Founding member, with Bronwyn Bancroft, Euphemia Bostock, Fiona Foley, Fernanda Martins, Arone Raymond Meeks, Tracey Moffatt, Michael Riley, Avril Quaill and Jeffrey Samuels, Sydney
1986 – 89	88.9FM Radio Redfern, Volunteer Journalist/Broadcaster; Casual employee, Alexys, Darlinghurst and Rozelle CYSS (Community Youth Services Schemes).

Research – publications, selected

2019	Croft, Brenda L., Toussaint, Sandy, Meakins, Felicity, McConvell, Patrick, “‘For the children…’: Aboriginal Australia, cultural access, and archival obligation” in Archival returns: Central Australia and beyond (eds. Edited by Linda Barwick, Jennifer Green, and Petronella Vaarzon-Morel), LD&C Special Publication 18 (Honolulu, Hawai’i & Sydney, Australia: University of Hawai’i Press & Sydney University Press), Chapter 9, pp173-19, http://hdl.handle.net/10125/24883/.
2015 – 19	Songs from the Station: Wajarra as Performed by Ronnie Wavehill Wirrpnga, Topsy Dodd Ngarnjal and Dandy Danbayarri at Kalkaringi (Sydney: Sydney University Press, 2019).
2018	Croft, Brenda L. ‘The instability of truth: aspects of developing a specific Indigenous methodology on experimental practice-led research’, in Visual Anthropology Review – Special Issue: Hyperrealism and Other Indigenous Forms of ‘Faking it with the Truth’, Spring 2018, Vol, 34, Iss. 1, pp. 15 – 26, 27 May, https://doi.org/10.1111/var.12149
2018	‘Still in my mind: Gurindji location, experience and visuality’, in Feminist Perspectives on Art: Contemporary Outtakes, Millner, Jacqueline; Moore, Catriona, (eds), London: Routledge, 2018, pp. ISBN: 9781138061781.
2018	‘home/lands’, in Visualising Human Rights (ed. Dr Jane Lydon), (Perth: UWA Publishing), pp 101–112.
2014 – 16	Yijarni: True Stories from Gurindji Country (Canberra: Aboriginal Studies Press).
2016	‘Retrac(k)ing country and (s)kin: walking the Wave Hill Walk Off Track (and other sites of cultural contestation)’, Westerly Magazine, Vol 61. No. 1, July 2016
2015	‘Still in my mind: An Exploration of Practice-led Experimental Research in Progress’, Cultural Studies Review, Vol 21 No. 1, 12 May 2015, pp. 230 – 48, https://epress.lib.uts.edu.au/journals/index.php/csrj/article/view/4433. doi:10.5130/csr.v21i1.4433.
2015	‘Say my name’, (Chapter Six) in Jeffery, Celina (ed.) The Artist as curator, Intellect, Bristol, UK; University of Chicago Press, Chicago, USA, pp. 115 – 130.
2015	‘Signs of the times’, in Scott, R & Heiss, A (eds.) The Intervention: An Anthology (concerned Australians and Copyright Agency Cultural Fund), pp. 162 – 178. ISBN: 9781742235127.
2007 – 09	Culture Warriors: National Indigenous Art Triennial, (National Gallery of Australia: Canberra). Reprinted as Culture Warriors: Australian Indigenous Art Triennial 2009 for USA tour. Canberra, ACT: National Gallery of Australia, 2007, xxvii, 218 pages; col. ill. ; 29 cm. ISBN: 9780642541338; ISBN: 9780642542052.
2006	Michael Riley: sights unseen, monograph, exh. cat., (Canberra: National Gallery of Australia). Blurb: Michael Riley was one of the most important contemporary Australian Indigenous visual artists of the past two decades. His contribution to the urban-based Indigenous visual arts industry was substantial, along with his film and video work. Canberra: National Gallery of Australia, 2006. 176 pages. : ill. (chiefly col.), map, ports.; 29 cm. Exhibited: National Gallery of Australia, ACT 14 Jul. 2006-16 Oct. 2006, Monash Gallery of Art, Wheelers Hill, Vic. 16 Nov. 2006-25 Feb. 2007, Dubbo Regional Gallery, Dubbo and Moree Plains Gallery, Moree, 12 May-8 Jul. 2007, 19 May-15 Jul. respectively, Museum of Brisbane, Qld 27 Jul-19 Nov. 2007, Art Gallery of New South Wales, NSW 22 Feb.-27 Apr. 2008. ISBN: 0642541620.
2005	‘Meeting, Not Colliding’, presented at the international First Nations symposium Vision, space, desire: global perspectives and cultural hybridity, Istituto Veneto di Scienze, Lettere ed Arti Palazzo Cavalli Franchetti Campo Santo Stefano, Venice, Italy, 13 December, organised by the Smithsonian National Museum of the American Indian. Papers published as Vision, Space, Desire: global perspectives and hybridity (Washington, DC, USA: Smithsonian National Museum of the American Indian, 2006) pp 69 – 75. ISBN: 9781933565071. 100% contribution as author of my chapter.
2005	‘Aboriginal People and Photography, The Oxford Companion to the Photograph,’ (Oxford: Oxford University Press). DOI 10.1093/acref/9789198662716.001.0001, ISBN 9780198662716.
2003	Tactility: two centuries of Indigenous of objects, textiles and fibre, 7 June – 28 September; exhib. cat., 24 pages, ISBN: 0642542082. Lead curator, essays by Croft, Susan Jenkins and Stephen Gilchrist
2003	South West Central: Indigenous art from south Western Australia 1833 – 2002, exh. cat., (Perth: Art Gallery of Western Australia). Art Gallery of Western Australia, 200383 pages: ill (chiefly col.), ports, maps; 29 cm. ISBN: 0975016806; 0975016806.
2002	‘Laying ghosts to rest’, Colonialist Photography: Imag(in)ing Race and Place Height, E & Sampson, G (eds). Routledge, London UK; New York, USA, pp. 20 – 29. ISBN 9781315015262 https://doi.org/10.4324/9781315015262. Originally published in Portraits of Oceania, (ed. Judy Annear), 27 August – 26 October 1997, exh. cat. (Sydney: Art Gallery of New South Wales, 1997, pp. 8 – 14).
2002	‘Albert’s Gift’, in Seeing the Centre: The art of Albert Namatjira 1902 – 1959 (ed. Alison French), (Canberra: National Gallery of Australia). Originally published as the lead essay in Indigenous Art: Art Gallery of Western Australia (Perth: Art Gallery of Western Australia, 2001)
2001	Indigenous Art: Art Gallery of Western Australia, collection publication, (Perth: Art Gallery of Western Australia). Perth, WA: Art Gallery of Western Australia, 2001, 112 pages: col. ill., 1 map: 29 cm. ISBN: 0730738167.
2000	Beyond the pale: contemporary Indigenous Art (2000), exh. cat. Adelaide Biennial of Australian Art, Art Gallery of South Australia for the 2000 Adelaide International Arts Festival. ISBN: 9780730830672.