EDUCATION
BRADLEY MCCALLUM
1992 MFA, Sculpture, Yale University School of Art, New Haven, CT
1989 BFA, Sculpture, Virginia Commonwealth University, Richmond, VA
JACQUELINE TARRY
2003 Whitney Independent Study Program, New York, NY
1986 BA, Philosophy, State University College at Buffalo, Buffalo, NY
SOLO EXHIBITIONS & PUBLIC INSTALLATIONS
MCCALLUM + TARRY
2012-13
Intersections: McCallum & Tarry, Burchfield Penny Art Center, Buffalo, NY
2012
Wade in the Water, Galerie Zidoun, Luxembourg
2010
Evenly Yoked: Work by Bradley McCallum & Jacqueline Tarry, Spelman College: Museum of Fine Art, Atlanta, GA
Bearing Witness: Work by Bradley McCallum & Jacqueline Tarry, Contemporary Museum, Maryland Institute College of Art, The Walters Art Museum, Carroll Mansion, Phoenix Shot Tower, Reginald F. Lewis Museum of Maryland African American History & Culture, Maryland Art Place, Baltimore, MD
2009
Bradley McCallum & Jacqueline Tarry: Indelible Image, Tokyo Wonder Site Shibuya, Tokyo, Japan
Shades of Black, Galerie Nordine Zidoun, Luxembourg
2008
Within Our Gates, Irwin Street Water Tower, Atlanta, GA
The Dark Is Light Enough, Galerie Nordine Zidoun, Paris, France
Another Country, Kiang Gallery, Atlanta, GA
2007
Now, Tomorrow & Forever, Kinkead Contemporary, Los Angeles, CA
Bloodlines, Caren Golden Fine Art, New York, NY
Whitewash & Cut, Lisa Dent Gallery, San Francisco, CA
2006-07
Whitewash, Light Factory, Charlotte, NC
2006
Bearing, FUEL House, Philadelphia, PA
Cut, Conner Contemporary Art, Washington, DC
Whitewash, F2 Gallery, Beijing, China
2005
Endurance, Nichido Contemporary Art, Tokyo, Japan
Endurance, Tokyo Wonder Site, Tokyo, Japan
Endurance, Aljira, Center for Contemporary Art, Newark, NJ
2004
Endurance, Marvelli Gallery, New York, NY
Otis, Conner Contemporary Art, Washington, DC
Endurance, City Space Gallery, Seattle, WA
2003
Civic Endurance, Conner Contemporary Art, Washington, DC
2002
Silence: New Haven, Rush Arts Gallery, New York, NY
2001
Silence: New Haven, Artspace at Center Church on the Green, New Haven, CT
2000
Witness: Perspectives on Police Violence, The Bronx Museum of the Arts, Bronx, NY and citywide installation, New York, NY
In the Public Realm, Elvehjem Museum of Art, University of Wisconsin-Madison, Madison, WI
1999
Witness: Perspectives on Police Violence, Cathedral Church of St. John the Divine, New York, NY
Witness: Perspectives on Police Violence, Institute on Arts and Civic Dialogue, Kings Chapel, Boston, MA
MCCALLUM
2001–03
Madison Project: Path of Voices, Five permanent installations, Madison Public High Schools, Madison, WI
1998
Permanence of Memory: Maine Veterans and Civilians Remember WWII, Institute of Contemporary Art at Maine College of Art, Portland, ME
History Table: Gorhams Corner, Percent-for-Art commission, Portland, ME
1996–97
The Manhole Cover Project: A Gun Legacy, Wadsworth Atheneum, Hartford, CT
1996
Transcending Silence: The Tubs Project, Albion College, Victory Park, Albion, MI
Surviving Memories, Work-in-progress, Swords Into Plowshares Peace Center and Gallery, Detroit, MI
1995–96
The Permanence of Memory: Maine Veterans and Civilians Remember WWII, Site specific installation, Battery 201, Two Lights State Park, Cape Elizabeth, ME
1994
Shroud: Mother’s Voices, A Memorial for Victims of Gun Violence in New Haven, CT, Coalition to Stop Gun Violence Conference, Washington, DC
Testimonies, Screening, Boston Film and Video Foundation, Boston, MA
1993
Aiding Awareness: Women’s Stories, in collaboration with Class Action: The Art Collective For Community Action, Artspace, New Haven, CT
Multi Media Installation, Virginia Polytechnic Institute and University, Blacksburg, VA
1992
Shroud: Mother’s Voices, A Memorial for Victims of Gun Violence in New Haven, CT, Site specific installation, Yale Art & Architecture Gallery, New Haven, CT; City Hall, New Haven, CT; Connecticut College Chapel, New London, CT; Maloney Correctional Institute, Cheshire, CT
1990
Awnings: Shelter, Site specific installation, Yale University, New Haven, CT
1989
Park Bench Shelter, Site specific installation, New Haven, CT
1988-1989
Homeless Carts, Public art project, Richmond, VA
GROUP EXHIBITIONS
MCCALLUM + TARRY
2012
Identity VIII, Curated by Shihoko Lida, Nichido Contemporary Art, Tokyo, Japan
11th Havana Biennial: Artistic Practices and Social Imaginaries, Havana, Cuba
Day For Night: Between Reality and Illusion, CUNY, New York, NY
Configured, Benrimon Contemporar, New York, NY
2011
Living As Form, Creative Time, Online
Intersection: Photography/Painting/Document, Marlborough Chelsea, New York, NY
STREETWISE, Chelsea Art Museum, New York, NY
Identity VII, Curated by Fumihiko Sumitomo, Nichido Contemporary Art, Tokyo, Japan
2010
Beyond/In Western NY, Albright Knox Art Gallery, Buffalo, NY
One on One, SITE Sante Fe, Sante Fe, NM
Embracing Ambiguities, California State University, Fullerton, CA
From The to Now, MOCA Cleveland, Cleveland, OH
2009
Identity V, Nichido Contemporary Art, Tokyo, Japan
Questions of Public and Private Memory – 1968 and the Holocaust, Tokyo Wonder Site Shibuya, Tokyo, Japan
Post Memory, EFA Gallery, New York, NY
Showcase & Tell, Spelman College Museum of Fine Art, Atlanta, GA
2008
Prospect 1 Biennial, New Orleans, LA
Sound Off, BRIC Rotunda Gallery, Brooklyn, NY
No Mas Heros, La Coleccion Vlll, Artium, Centro Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain
The Other Mainstream II, Arizona State University Art Museum, Tempe, AZ
Group Show, Galerie Nordine Zidoun, Paris, France
Identity, Nichido Contemporary Art, Tokyo, Japan
Subversive Complicity, The LAB, San Francisco, CA
Performed Identity, Kathleen Cullen Fine Arts, New York, NY
I-Dentity: Los Angeles Video Art, University of Missouri – Kansas City Gallery of Art, Kansas City, MO
Taking Shelter, Canazi Gallery, Columbus College of Art & Design, Columbus, OHCollectors Select, Arlington Arts Center, Arlington, VA
2007
Group show, Kiang Gallery, Atlanta, GA
Finding Form, Atlanta Contemporary Art Center, Atlanta, GA
Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College Museum of Fine Art, Atlanta, GA
A Spectral Image of Self, Newcomb Art Gallery, Tulane University, New Orleans, LA
The New Media Festival ‘07, Hardcore Art Contemporary Space, Miami, FL
Taking Possession, University of Arkansas at Little Rock Art Gallery, Little Rock, AK
Some Kind of Portrait, Marc Selwyn Fine Art, Los Angeles, CA
50,000 Beds, Real Art Ways, Hartford, CT
Transformer, VCUarts Anderson Gallery, Richmond, VA
Bearing, The African American Museum in Philadelphia, Philadelphia, PA
John Q. Public & Citizen Jane: Private Americans in the Political Domain, University Art Gallery, San Diego State University, San Diego, CA
Critical Translations, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN
2006
Civic Performance, Stony Brook University Art Gallery, Stony Brook, NY
Nothing Good House, Kunsthaus Graz, Landesmuseum Joanneum, Austria
Legacies: Contemporary Artists Reflect on Slavery, New York Historical Society, New York, NY
25 Bold Moves, Curator Simon Watson, House of Campari, New York, NY
2005
A Knock at the Door, Lower Manhattan Cultural Council, New York, NY
Crossing Waters and Borders Down Memory Lane, Cork, Ireland
Convergence, International Contemporary Art Exhibition, Beijing, China
Noorderlicht Photofestival, Groningen, Netherlands
2004–05
The Staged Body, Curator: Andrea Pollan, Curator’s Office, Washington, DC
2004
Ralph Bunche: An American Legend, Curator: Franklin Sermons, Queens Museum of Art, New York, NY
It’s About Memory, Curator: Simon Watson, Rhona Hoffman Gallery, Chicago, IL
2003
The Outlaw Series, Curator: Lisa Kirk, New York, NY
Confrontation or Commentary: The Role of Political Art in Society, Curator: Danny Simons, Nathan Cummings Foundation, New York, NY
2003 Biennial Exhibition of Public Art, Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY
2002
MediaCity, Curator: Wang Nan-Ming, Artists Commune Gallery, Hong Kong, China
Strike, Curator: Gavin Wade, Wolverhampton Art Gallery, Wolverhampton, England
Art & Outrage, Curator: Simon Watson, Robert Miller Gallery, New York, NY
2001
In Cold Blood, Samuel Dorsky Museum of Art, State University of New York at New Paltz, New Paltz, NY
Art at the Edge of the Law, Aldrich Museum of Contemporary Art, Ridgefield, CT
Collaborative Art Projects 2000: Artists-in-Community Residence, Bronx Museum of the Arts, Bronx, NY
2000
Black and Blue, Zilkha Gallery, Wesleyan University, Wesleyan, CT
1999
Mumia 911, Refuse and Resist, New York, NY
MCCALLUM
2005
Disputed Territories, City Without Walls, Newark, NJ
2002–2003
The Culture of Violence, Curators: Donna Harkavy & Helaine Posner, University Gallery at the University of Massachusetts, Amherst, MA; Bowdoin College Museum of Art, Brunswick, ME; Samuel P. Harn Museum of Art, Gainesville, FL
2000
Concerted Compassionism, White Columns, New York, NY
Once Removed, Socrates Sculpture Park, Long Island City, NY
1998
Inspired Fear, Erector Square Gallery, New Haven, CT
1997
Memory and Mourning: Shared Cultural Experience, University at Albany Art Museum, Albany, NY
Surviving Memories, Site specific installation, Heidelberg Project, Detroit, MI
1996
Incestuous, Thread Waxing Space, New York, NY
In Our Sights: Artist Look at Guns, UCR/California Museum of Photography, Riverside, CA
1995
Crime and Punishment, Philadelphia Art Alliance, Philadelphia, PAArresting Images, Gallery 400 at the University of Illinois at Chicago, IL
Reinventing the Emblem, Yale Art Gallery, New Haven, CT
Strokes of Genius: Mini Golf by Artists, Collaboration with Dawoud Bey, DeCordova Museum, Lincoln, MA
1994
Multiple Choice, Gates of Heck Editions, New York, NY
Percent for Art Finalist Exhibition, Baxter Gallery, Maine College of Art, Portland, ME
1993
Small Works, Artspace, New Haven, CT
Art and Ethics, Sawtooth Center for Art, Winston Salem, NC
Re-enchanting Art, Multimedia installation, Cardinal Gallery, Annapolis, MD
1991
Toys Are U.S., Key Gallery, Richmond, VA
1989
Coastal Exchange II, Anderson Gallery, Richmond, VA; Maryland Art Place, Baltimore, MD; Nexus Art Center, Atlanta, GA
TARRY
2004
Independent Study Program Studio Program Exhibition, Whitney Museum of American
Art, New York, NY
AWARDS
MCCALLUM + TARRY
2012 Painting Fellowship, New York Foundation for the Arts
2008 Video Fellowship, New York Foundation for the Arts
2004-06 Lambent Fellowship in the Arts, Tides Foundation, New York, NY
2003 Rema Hort Mann Fellowship in the Arts, New York, NY
ARTIST RESIDENCIES
MCCALLUM + TARRY
2008 Tokyo Wonder Site Aoyama, Tokyo, Japan
2007 National Portrait Gallery / Provisions Library, Washington D.C.
2006 McColl Center, Charlotte, NC
2006 North 55 & The Playhouse, Derry/Londonderry, Northern Ireland
2005 Headlands Center For the Arts, Bridge Residency
2003 Arts Up Program, Seattle Office of Arts and Cultural Affairs, Seattle, WA
2002 Red Gate Gallery, Beijing, China, Ford Foundation International Fellowship
1999 Institute on Arts and Civic Dialogue, Harvard University, Boston, MA
MCCALLUM
1999–00 Madison Metropolitan School District, Madison, WI
1998–99 New York Civil Liberties Union, New York, NY
1996 Albion College, Albion, MI
1995 John Michael Kohler Arts Center Residency, Sheboygan, WI
1993 Vermont Studio Center Residency, Johnson, VT
PUBLIC PROJECTS: PARTNERS & FUNDING
MCCALLUM + TARRY
Founding Director of Conjuction Arts, (1989-2013), a 501(c) 3 non-profit organization
Established as a vehicle to self-produce public art projects and to support the field of critical discourse, fiscal sponsorship, and international, cross-cultural exchange. www.conjunctionarts.org
Brick + Mortar International Video Art Festival, Founding Director (2008–2012), Greenfield MA
Each year, Brick+Mortar, commissions a curator to transform Downtown Greenfield, MA into a temporary arts district, by presenting contemporary video art works from around the world in a variety of its historic buildings. In the first year the buildings were raw, shuttered spaces, where residents discovered both the history of their town and museum quality artworks. Now in its history of their town and museum quality artworks. Now in its 5th year, many of these buildings are renovated and the city has experienced a transformation. www.greenfieldvideofest.org
Water Tower, Atlanta GA (2008)
Commissioned by Atlanta Celebrates Photography
Endurance, Seattle, WA (2003-05)
In partnership with Peace on the Streets by Kids from the Streets, Seattle, WA and commissioned by the Seattle Office of Arts and Cultural Affairs, Arts Up Program. Additional funding by the National Endowment for the Arts, Seattle Department of Neighborhoods, and the Fales Foundation.
Silence: New Haven, New Haven, CT (2001-02)
Presented by Artspace and Center Church on the Green, New Haven, CT. Produced by ConjunctionArts. Funded by the Lustman Memorial Fund, The Gunk Foundation, Trumball College Fine Art Program and the Connecticut Humanities Council. Presented in New York City by the Rush Arts Gallery, a program of Rush Philanthropic Arts Foundation. Funded by the New York State Council on the Arts and the Greenwall Foundation.
Witness: Perspectives on Police Violence, New York, NY (1999–00)
Presented by the Bronx Museum of the Arts and the Cathedral of St. John the Divine. Produced by ConjunctionArts in partnership with Center for Constitutional Rights, 100 Blacks in Law Enforcement Who Care, Parents Against Police Brutality, National Action Network, National Congress for Puerto Rican Rights and New York Civil Liberties Union. Funded by the New York State Council on the Arts, Institute on Arts and Civic Dialogue, Jerome Foundation, The Gunk Foundation, Lower Manhattan Cultural Council and the Andy Warhol Foundation for the Visual Arts.
MCCALLUM
The Madison Project: Path of Voices, Madison, WI (2001–03)
Commissioned by the Madison Metropolitan School District, YWCA of Madison and Parents of Murdered Children. Funded by the National Endowment for the Arts, Pleasant Company Fund for Children, Madison CityARTS Commision, Evjue Foundation, Wisconsin Arts Board and individual donors.
The Manhole Cover Project: A Gun Legacy, Hartford, CT (1996–97)
Presented by the Wadsworth Atheneum in partnership with the Connecticut Childhood Injury Prevention Center with support from the City of Hartford, Mayor’s Office and ConjunctionArts. Funded by the Connecticut Commission on the Arts-New Arts Partnerships, Greater Hartford Arts Council, New England Foundation for the Arts, Hartford Hospital, Colt Foundation and Kaiser Permanente.
Surviving Memories: Dedicated to Homicide Victims, Detroit, MI (1994–98)
Commissioned by Save Our Sons and Daughters (SOSAD) and the City of Detroit. Funded by the Michigan Council for Art and Cultural Affairs, Detroit Arts Council, Detroit Arts Foundation and the John Michael Kohler Arts Center.
Permanence of Memory: Maine Veterans and Civilians Remember WWII, Cape Elizabeth, ME (1995–98)
Presented by ConjunctionArts in partnership with Two Lights State Park and the American Legion. Funded by the National Endowment for the Arts, Maine Humanities Council, Maine Arts Commission, Maine Community Foundation, Davis Family Foundation and the Shipman Foundation.
Shroud: Mother’s Voices: A Memorial for Victims of Gun Violence in New Haven, CT (1992–93)
Produced by ConjunctionArts. Presented by the Yale Art & Architecture Gallery, New Haven, CT, New Haven City Hall, New Haven, CT, Connecticut College Chapel, New London, CT and the Maloney Correctional Institute, Cheshire, CT. Funded by the Seymour L. Lustman Memorial Fund and the Dwight Hall Center for Public Service and Social Justice.
PUBLICATIONS
MCCALLUM + TARRY
“Questions of Private and Public Memory:1968 and The Holocaust” by Tokyo Wonder Site Aoyama, Tokyo, Japan Exhibition Program, 2010
“Critical Play: Radical Game Design,” by Mary Flanagan, September 2009
“Cinema Remixed and Reloaded: Black Women and the Moving Image Since 1970,” by Andrea Barnwell Brownlee and Valerie Cassel Oliver, Nov 2008
“Tokyo WonderSite 2001-2006”, by Tokyo Wonder Site Aoyama, Tokyo Japan, 2008
“Whitewash”, published by Timezone 8
“Full of Grace: A Journey Through the History of Childhood,” by Ray Merritt, Jan 2007
“Civic Endurance,” Issue Magazine, Fall 2003, no. 7: 14-29, cover photo.
“Silence,” Art Journal, Vol. 62, no. 1: 82-95.
“The Spirit of Endurance,” by Franklin Sirmans, Civic Endurance, 2003 exhibition catalogue, Conner Contemporary Art, Washington, DC, 2003
“Bearing Witness” in Zero Tolerance: Quality of Life and the New York Police Brutality in New York City, Andrea McArdle and Tanya Erzen, eds, New York: NYU P., 2001: 271-281.
BIBLIOGRAPHY
MCCALLUM + TARRY
Nathalie Becker, “Un voile sur la negritude,” Luxemburger Wort, July 11, 2009
Didier Damiani, “Fondu au noir,” Art Contemporain, June 5, 2009
France Clarvinal, “A l’ombre de l’ecran,” Les Loisirs, May 24, 2009
Christiane Walerich, “Hinter dem Vorhang,” Woxx, May 6, 2009
Edan Corkill, “So what then was 1968 all about?” Japan Times, May 1, 2009
Jonathan T.D. Neal, “Prospect .1New Orleans,” Art Review, January/February 2009, Review
Lilly Wei, “Deliverance: the Biennial,” Art In America, February 2009, New Orleans Report
Roberta Smith, “Kaleidoscopic Biennial for a Scarred City,” The New York Times, November 4, 2008: C1
Christina S.N. Lewis, “ The Big Easy’s Art Gumbo,” The Wall Street Journal, October 31, 2008: W2.
Jeremy Abernathy, “McCallum and Tarry: Within Our Gates,” Art Voices, November 2008, Review
Catherine Fox, “Tower Setting Powerful for ‘60’s Video Montage,” The Atlanta-Journal Constitution, Oct. 19, 2008
Drew Jubera, “Old Tower a Pointer to Past,” The Atlanta Journal-Constitution, September 28, 2008
Mariuccia Casadio, “Colorful,” Italia Vogue, August 2008
Susan Richmond, “Bradley McCallum +Jacqueline Tarry,” Art Papers, July/August 2008, Review
Catherine Fox, “Visions of Race Vex,” Atlanta Journal-Constitution, April 6, 2008, Review
Caroline Figwer, “En Ligne.” Cimaise, December 2007 – February 2008
Michael Amy, “Bradley McCallum and Jacqueline Tarry at Caren Golden,” Art in America, December 2007
Benjamin Genocchio, “Hotel Rooms Set the Scene, and 45 Artists Star,” The New York Times, Aug.5, 2007, Review
Linda Yablonsky, “Hotel Rooms Become Overnight Stars,”, The New York Times, July 8, 2007, Arts
Nord Wennerstrom, “Bradley McCallum and Jacqueline Tarry: Conner Contemporary Art,” ArtForum, Oct. 2006
Holland Cotter, “At Historical Society, Emancipation Remains a Work in Process,” The New York Times, 20 June 2006, Arts
Joseph R. Wolin, “Legacies: Contemporary Artists Look at Slavery,” Time Out New York, 6-12 July 2006
R.C. Baker, “Southern Gothic,” The Village Voice, 28 June – 4 July 2006
Feliciar Lee, “The Influence of Slavery, Through Contemporary Art,” The New York Times, June 13, 2006, Arts
Galan, Fernando, “Work and Word”, art.es, May- June 2006
Holland Cotter, “Posing, Speaking, Revealing,” The New York Times, 24 August 2005: Front Page, Arts
Benjamin Genocchio, “Trapped in Nether-Nether Land,” New York Times, NJ- Arts, 7 August 2005
Dan Bischoff, “Street Scenes,” The Star-Ledger, 8 July 2005: Front Page
Tina Potterf, “Strife, Addiction, Hope, ‘Endurance,’” The Seattle Times, 17 February 2004: E1-2.
Erin Barnett, “New Museum Curator’s Picks,” newmuseum.org, December 2003.
Louis Jacobson, “Civic Endurance,” Washington City Paper, 7-13 November 2003.
Jessica Dawson, “Still Life With Street Corner and Homeless Kids,” Washington Post, 6 November 2003: C5.
Michael O’Sullivan, “McCallum, Tarry Take a Stand,” Washington Post, 24 October 2003: WE50.
Blake Gopnik, “Here and Now,” Washington Post, 19 Oct. 2003: N3.
Glenn Dixon, “Children of No Standing,” Washington Post Express, 16 October 2003: N3.
Keisha Lewis, “ Silent Witnessing: Questioning Sacred Spaces,” NKA: Journal of Contemporary African Art, Spring/Summer 2003, no. 18: 96-97.
Ana Finel Honigman, “Public and Private Investigation: A Conversation with Bradley McCallum andJacqueline Tarry,” Sculpture, Vol. 21, no. 7: 64-69.
Franklin Sirmans, “Bradley McCallum and Jacqueline Tarry, ‘Silence’” Time Out New York, 2-9 May 2002, no. 344.
Courtney J. Martin, “Civil Servants,” One World, Vol. 7, no. 3: 110-112.
Stacy Stowe, “Congregation Thinks Twice about a Depiction of a Segregated Past,” New York Times, 3 Dec. 2001: F1.
Randall Beach, “Sins of the Past,” New Haven Register, 9 Sept. 2001: B1.
Christian Schaernack, “Guiliani Meint es Ernst,” Art Das Kunstmagazin, Nr. 6, 2001.
Jose Martinez, “Art Labeled Anti-cop,” Daily News [New York, NY], 18 April 2001.
Jenni Sorkin, “Bradley McCallum and Jacqueline Tarry,” Frieze, Jan.–Feb. 2001: 109-110.
David Ebony, “Feds Spurn Police Brutality Art,” Art in America, Feb. 2001:
Judy Birke, “Pain and Provocation in ‘Black and Blue’,” New Haven Register, 12 Nov. 2001: D1, D6.
Shaila K. Dewan, “Police Brutality Revisited, But Not on Federal Ground,” New York Times, 3 Oct. 2000, late final ed.: B6.
Roberta Smith, “Stretching Definitions of Outdoor Sculpture,” New York Times, 28 July 2000, late final ed.: E27-29.
Patricia Phillips, “Bradley McCallum, Cathedral Church of St John the Divine,” Sculpture, June 2000: 71-72.
Janet Koenig, “Evidence of Blue,” Afterimage, Mar./Apr. 2000: 12.
MCCALLUM
Amanda Henry, “Sounds Out of Stone,” Wisconsin State Journal [Madison, WI], 14 Oct. 2001: F1+
Mary Feingold, “Path of Voices winds through Madison High School,” Madison Magazine, Oct. 2001: 21.
Joshua Tyree, “After the Violence, Art,” Isthmus [Madison, WI], 16 June 2000: 22.
Dan Cameron, “The One Who Sees: In the Public Realm,” In the Public Realm: Installations by Bradley McCallum, exh. cat., Elvehjem Museum of Art, Madison, WI, 2000.
Kevin Lynch, “Melted Guns, Ghostly Silk Yield Wrenching Art,” Capital Times [Madison, WI], 24 May 2000: C1.
John Aehl, “Out of Violence, Art,” Wisconsin State Journal [Madison, WI], 30 April 2000: F1-5.
David Ebony, “NYCLU Hires Artist-in-Residence,” Art in America, April 1999: Front page.
R. Gardner, “NYCLU Arts Initiative to Address Police Brutality,” New York Observer, 22 Feb. 1999:
Paul Brickman, “Envisioning a World Without Brutality,” Wisconsin State Journal [Madison, WI], 19 Jan. 1999: A1.
Chris Murphy, “Guns Into Art,” Capital Times [Madison, WI], 18 Jan. 1999: Front Page.
Lucy Lippard, “The Consequences of Memory,” In Permanence of Memory: Maine Veterans and Civilians Remember World War II, exh. cat., Maine College of Art, Institute of Contemporary Art, Portland, ME, 1998.
Kent Bloomer, “The Making of Memorials,” In Permanence of Memory: Maine Veterans and Civilians Remember World War II, exh. cat., Maine College of Art, Institute of Contemporary Art, Portland, ME, 1998.
Mark H. C. Bessire, “Museum as Site,” In Permanence of Memory: Maine Veterans and Civilians Remember World War II, exh. cat., Maine College of Art, Institute of Contemporary Art, Portland, ME, 1998.
Hank Hoffman, “Inspired Fear,” New Haven Advocate, 17 Sept. 1998:
Judy Birke, “Fears exposed, examined in ‘inspired’ exhibit,” New Haven Register, 13 Sept. 1998: G2.
David Firestone, “Artist Gives Form to Free Speech,” New York Times, 17 Nov. 1998: Public Lives-Metro Section
Lucy Lippard, The Lure of the Local: Senses of Place in a Multicentered Society (New York: New Press, 1997), 282.
Patricia Phillips, “Bradley McCallum,” Sculpture, May–June 1997: 62-64.
David Ebony, “Swords Into Plowshares,” Art in America, January 1997: Front Page.
Alberta Eiseman, “Sam, Elizabeth and the Victims of Guns,” New York Times, 12 Jan. 1997: CN23.
Tom Condon, “Guns-to-Covers, A Great Idea,” Hartford Courant, 1 Sept. 1996: B1.
Hanley, Christine, “Guns to Manhole Covers,” Associated Press, 18 Oct. 1996.
Jane Keedle, “A Legacy of Violence,” Hartford Advocate, 17 Oct. 1996: 17.
James Rondeau, catalogue essay, The Manhole Cover Project: A Gun Legacy, exh. cat., Wadsworth Atheneum, Hartford, Conn., 1996.
Joanne M. Pelton, “Artwork Revisits Yale Tragedy,” New Haven Register, 22 Jan. 1995: A3.
“Environments Best of Category,” I.D. Annual Design Review, June 1994: 109-112.
“The Aesthetic of Collaboration,” New England Artist Trust (Vol. 4, 1994).
Richard Hertz, Theories of Contemporary Art, Second Edition, (Englewood, NJ Prentice Hall, 1993).
Suzi Gablik, The Re-Enchantment of Art, (New York: Thames and Hudson, 1991).
Suzi Gablik, “Toward an Ecological Self,” New Art Examiner, Vol. 18, no. 5:
William Zimmer, “Photographers Capture Reality,” New York Times, 8 Dec. 1991: 24CN.
GUEST LECTURES
MCCALLUM + TARRY
2010
Maryland Institute College of Art, Baltimore, MD, Visiting Artists
Museum of Chinese in America, New York, NY, International/Cross-cultural Exchange and Collaboration in Arts.
US Embassy Sponsored Speaker Program, Tokyo, Fukuoka & Nagoya, Japan
Maryland Art Place, Baltimore, MD, McCallum and Tarry: Moderated Discussion with Leslie King-Hammond
SITE Santa Fe, Santa Fe, NM, McCallum & Tarry in conversation with Janet Dees
2009
University of Utah, Salt Lake City, UT, Visiting Artists
Xavier University of Louisiana, New Orleans, LA
2008
School of Visual Arts, New York, NY, Visiting Artists
Massachusetts College of Art and Design, Boston, MA, Adderley Lecture Series
2007
The Spelman College Museum of Fine Art, Atlanta, GA, Visiting Artists
Tisch School of the Arts, New York University, New York, NY, Visiting Artists
Virginia Commonwealth University, Richmond, VA, Visiting Artists
California College of the Arts, Oakland CA, Visiting Artists
SF Camerawork, San Francisco, CA, Visiting Artists
2006
NYU Photography, New York, NY, Visiting Artists
The Museum School, Boston, MA, Visiting Artists
University of North Carolina at Charlotte, Charlotte, NC, Visiting Artists
2005
Princeton University, Princeton NJ, Visiting Artists
London-Derry, North-Ireland, Visiting Artists
Whitney Museum of Art, New York, NY, Initial Public Offering
Mural Arts, Philadelphia, PA, Visiting Artists
2003
Pennsylvania State University, University Park, PA, Visiting Artists
2001
Testimony/Urban Ethnography, Occidental College, Los Angeles, CA
Yale University, New Haven, CT, Silence: New Haven
1997
New England Artists Trust Congress, Newport, NH, For Who’s Community?
MCCALLUM
2002
Iowa Teacher Convention, Decora, IA, Keynote Lecture, The Madison Project: A Case Study
Wisconsin Teachers Convention, Madison, WI, Keynote Lecture, The Madison Project: A Case Study
2000
Elvehjem Museum of Art, Madison, WI, In the Public Realm
National Association of Artist Organizations Conference, Brooklyn, NY, Public Art/Collaborative Partnerships
1997
University of Minnesota, Minneapolis, MN, The Manhole Cover Project: A Gun Legacy
Augsburg College, Minneapolis, MN, Deadly Consequences: Stopping Youth Violence
Southeastern College Art Conference, Richmond, VA, The Manhole Cover Project: A Gun Legacy
Suffield Academy, Suffield, CT, The Manhole Cover Project: A Gun Legacy
University of Connecticut, Storres, CT, Under the Manhole Covers
Virginia Polytechnic Institute and University, Blacksburg, VA, Public Art
1996
Wadsworth Atheneum, Hartford, CT, The Manhole Cover Project: A Gun Legacy
San Francisco Art Institute, San Francisco, CA, Visiting Artist Lecture
1995
Albion College, Albion, MI, Visiting Artist Lecture
1994
Maine College of Art, Portland, ME, Visiting Artist Lecture
Sawtooth Center for Visual Art, Winston-Salem, NC, Visiting Artist Lecture
1993
Children’s Defense Fund, Anti-Violence Network, Washington, DC, Shroud: Mother’s Voices
Virginia Polytechnic Institute and University, Blacksburg, VA, Collaboration
1992
Connecticut College, New London, CT, Shroud: Mother’s Voices
1990
Virginia Polytechnic Institute and University, Blacksburg, VA, Collaboration
SYMPOSIUM/CONFERENCES
MCCALLUM + TARRY
2009
Popular Culture: New Genres and Crossover, Transformations: New Directions in Black Art, Maryland Institute College of Art, Baltimore, MD
2008
Rethinking Art as Social Practice, The University of California, Santa Cruz
2006
Endurance, National Youth Network, Washington, DC
2005
Workshop, Cork, Ireland
2003
College Art Association Conference, Seattle, WA, Panel Organizer
Activating Critical Discourse: Models of Civic Engagement and Public Arts Practice
2002
Collaborative Art Practices International Women Artists’ Conference, W.E.R.I.S.E., Barnard College, New York, NY
2001
A Reflection on the Institute on Arts and Civic Dialogue: Artists Respond to 9/11, Tisch School of the Arts, New York University, New York, NY
Collaborative Art Practice, Bronx Museum of the Arts, Bronx, NY
MCCALLUM
2001
Arts Now Conference, State University of New York at New Paltz, New Paltz, NY, Panel Organizer
Artists: Interventions and Collaborations on Sites of Violence, Keynote panel
1995
Public Art: Memory and Activism, Portland Museum of Art, Portland, ME, Symposium Organizer
TEACHING
MCCALLUM + TARRY
2009
Maryland Institue College of Art, Exhibition Development Seminar, Baltimore, MD
2008
The University of California, Santa Cruz, Santa Cruz, CA, Visiting Artists
2000–Present
Adjunct Professor of Arts and Cultural Management, Pratt Institute, New York, NY
Management of Arts Education, Introduction to Arts Management & Cultural Institutions
MCCALLUM
2000-12
Pratt Institute, Adjunct Professor in the Arts and Cultural Management, New York, NY
Courses in Arts Education, Cultural Policy, Introduction to Arts Management
2012
Greenfield Community Collage, Visiting Artist, Greenfield MA
Lead critic in Advanced Video Art Course
2008
The University of California, Visiting Artist, Santa Cruz, Santa Cruz, CA,
Courses in Arts Education, Cultural Policy, Introduction to Arts Management
1996
Visiting Assistant Professor of Art, San Francisco Art Institute, San Francisco, CA
Public Art: Memory, Activism, and Action
1994
Adjunct Professor of Art, University of Southern Maine, Portland, ME
Interdisciplinary Design, Introduction to Conceptual Art
Maine College of Art, Portland Maine, Pre-College Faculty
1992-94
Adjunct Professor of Art, Southern Connecticut State University, New Haven CT
Two and Three Dimensional Design, Computer Art
1992
Teaching Assistant, Yale School of Art, New Haven, CT
Sculptural Figure Studies