Beginning in 1999, Bradley McCallum and Jacqueline Tarry have developed a body of artwork that includes painting, photography, video, sculpture and public interventions. Together these works represent the artists’ commitment to use their agency to engage audiences in critical discourse and reflection on themes of social justice and race relations.
McCallum & Tarry demonstrate the ability to use their creativity to focus internally on the racial dynamics of their collaboration—as a mixed race, black-white team—as well as to focus outwardly to communities united by shared experiences of social injustice. Conjunction Arts has produced and presented many of their public projects, of which the following are a representative sampling. The links on the right will bring you to the full project websites or their pages on the McCallum & Tarry website.
Whitewash, 2006-2015Whitewash is a collection of painting, photography and drawings that reference images from the Civil Rights Movement, investigating the impact of race in America and its effect on McCallum & Tarry's intimate relationship.
Wade in the Water, 2012
Wade in the Water is a series of paintings of a "wade-in," a protest staged by African Americans entering a swimming hole against local laws, interrupted by racially charged violence from civilians and police. Source imagery of the paintings is taken from the Buffalo State College Archives.
Within Our Gates, 2008Within Our Gates was a site-specific installation in an abandoned water tower in Atlanta's forth ward, the neighborhood that Dr. Martin Luther King lived and worked in. The work contributed to Atlanta’s effort to examine the legacy of Dr. King 50 years after his assassination and was commissioned by the non-profit organization Atlanta Celebrates Photography.
The Evidence of Things Not Seen, 2008The Evidence of Things Not Seen is a body of 104 portraits that pay homage to the protesters who were arrested during the January 1956 Montgomery Bus Boycotts. It was installed on the ground floor of the New Orleans African American Museum as part of Prospect.1 New Orleans (October 31 - January 18, 2009) curated by Dan Cameron.
Bearing, 2006Bearing is a series of larger-than-life portraits of mother and child printed on silk accompanied by testimonials from the black teen mothers about their pregnancies and lives following. While the photography is rich and detailed, reminiscent of the religious paintings of Mother and Child, the audio is a raw narrative conversation.
Endurance, 2003Endurance is a video and photography project by McCallum & Tarry documenting a performance of endurance and defiance as 26 youth stood motionless for an hour consecutively to commemorate friends who died from life on the streets. These acts of commemoration were also meant to challenge Seattle’s vagrancy laws.
Looking For: A Slave Named ..., 2003Looking For focuses on a centuries-old family burial ground located on Purchase College campus. Using ground-penetrating radar, we searched for possible unmarked graves of slaves and discovered grave sites that extended beyond the c.1840 walls and into the adjacent field and parking lot. This installation marked these graves and a gate placed at the cemetery's entryway was comprised of text from records that acknowledge the identity of these family slaves.
Silence, 2001Silence was an installation of photography, engraved granite, and audio in the historic Center Church on the Green in New Haven, CT that commemorated the church's history as a site of African-American resistance during the gradual process of emancipation from slavery.
Witness: Perspectives on Police Violence, 1999-2001
Witness is a collection of oral histories from witnesses and survivors of police violence as well as their family members accompanied by video projections, photographic images and text to create intimate listening spaces and to examine the depths of an act of public violence. An element of the work - a modified group of traditional police and fire call boxes - was consecutively installed at 20 sites in New York City marked indelibly by violence and locations where accountability for these acts was determined. It culminated in an exhibition at the Bronx museum. Witness became the first project in an ongoing collaboration with artist Jacqueline Tarry.