Thought-Factory.net Philosophical Conversations Public Opinion philosophy.com Junk for code

Mandy Martin, Puritjarra 2, 2005. For further information on MANDY MARTIN, refer here: http://www.mandy-martin.com/
If there are diverse kinds of knowledge and ways of knowing place, then we need to learn to value the different ways each of us sees a single place that is significant, but differently so, for each perspective.
RECENT ENTRIES
SEARCH
ARCHIVES
Library
Thinkers/Critics/etc
WEBLOGS
Australian Weblogs
Critical commentary
Visual blogs
CULTURE
ART
PHOTOGRAPHY
DESIGN/STREET ART
ARCHITECTURE/CITY
Film
MUSIC
Sexuality
FOOD & WiNE
Other
www.thought-factory.net
looking for something firm in a world of chaotic flux

Australian photography: Brenda L Croft « Previous | |Next »
January 29, 2014

Brenda L Croft, of the Gurindji people, has been exhibiting since the mid-1980s. Brenda Croft captured the emergence of a new wave of community activists in Redfern in the early 1990s. Her career later shifted focus and she went on to become senior curator of Indigenous art at the National Gallery of Australia. Born in Perth in 1964, and having lived in many parts of Australia and overseas, she now lives and works on the South Coast of NSW.

Her work questions stereotypical descriptions of the relations between Indigenous and non-Indigenous people,

CroftBLmanabouttown03.jpg Brenda L Croft, Man about Town, 2003, from the exhibition Man About Town, Giclee print on rag paper

1960s Perth, prior to the national Referendum of 1967 was a place where Aboriginal people lived under the restrictions enforced by authorities of the day: Pass laws, or 'Dog Tags', city boundary restrictions, fringe camps, and removal of children from their families. At the same time new arrivals to the state from around the world were 'greeted/accepted' in diverse ways, depending on their country of origin.

In a formal sense Croft often uses the layering of text and image. The 1998 exhibition In My Fathers House included a series of multi-layered coloured photographs juxtaposed with text. Each picture pulls together family memories from members of the Stolen Generation – one of whom was Croft’s Aboriginal father. layering of text and image.

CroftBLLifelines.jpg Brenda L Croft, Lifelines, from the series In my father's house, 1998, colour ilfachrome photograph

In this series, Croft juxtaposes religious imagery, language and family photos to comment on her experience of growing up in the suburbs with a white mother and an Aboriginal father who was taken from his family at less than two years of age under the government policy that allowed the removal of Aboriginal children from their parents.

Growing up in institutions, often with religious affiliations, with little or no knowledge of their parents and culture, these children are now known as the 'Stolen Generations'. The constructed layers of memory in Croft's work reflect the fragmented lives of these children and the ongoing effects of this through generations as families reconnect.

| Posted by Gary Sauer-Thompson at 8:42 PM |