BEARING WITNESS:

WORK BY BRADLEY MCCALLUM & JACQUELINE TARRY

May 8 - July 31, 2010

Contemporary Museum & Institute College of Art

BALTIMORE, MARYLAND

©Exhibition Development Seminar 2009-2010, Maryland Institute College of Art (MICA: , 2010) TABLE OF CONTENTS

5 Foreword: Past and Present Irene Hofmann and George Ciscle

7 Pedagogical Perspective Jennie Hirsh

8 Mission Statement

9 Exhibition Development Seminar

11 About the Artists

13 “The Substance of Things Hoped For, and the Evidence of Things Not Seen” Eva Díaz

19 Participating Venues Contemporary Museum Maryland Institute College of Art The Walters Carroll Museums: Carroll Museums: Phoenix Reginald F. Lewis Museum

62 Exhibition Checklist

63 Exhibition Highlights

High Hope Baptist Church, Dawson, Georgia, 1962 (after unknown photographer; United Press International Telephoto, New 64 Acknowledgements York World-Telegram and the Sun Newspaper Photograph Collection, Library of Congress), 2008; from the Whitewash series

EDS Participants FOREWORD: PAST AND PRESENT

The inspiration for this exhibition began over a year ago with a conversation between George and me as we reflected on the Contemporary’s now twenty-year history, the imprint that each of us has left on the institution and how we might come together to mark the milestone anniversary of this institution. The Contemporary has undergone many changes in its history. And although nine years separate George’s inspiring seven-year tenure as the museum’s founder and first director and my arrival in 2006 as the institution’s fourth director, our aspirations for the museum align, and we found ourselves with a unique opportunity to collaborate. What followed was my invitation to George to participate in a year-and-a-half-long exhibition series entitled Project 20. Project 20 was conceived as an exhibition program with twenty international artists working in all media and representing some of the most promising talent in contemporary art. Each artist would be selected by one of twenty guest curators—former directors, curators and artists featured in the museum’s exhibitions and initiatives. Involving each of the Contemporary’s alumni who significantly shaped the museum’s dynamic history,Project 20 celebrates the museum’s visionary and experimental past while looking ahead to its future. My invitation to George resulted in the most ambitious, and for me the most personally meaningful, selection for Project 20. Rather than choosing a single artist, he proposed the innovative curatorial studies course that he developed at the Maryland Institute College of Art (MICA), the Exhibition Development Seminar (EDS), which charges art students with curating a professional exhibition. George’s bold choice strongly reflected his curatorial and pedagogical vision, allowing him to re-enact the spirit of the Contemporary’s original mission: to challenge traditional exhibition models and to bring artists’ work directly into the community. Witness: Callbox Tour, 2000; Lower , NY; installation view I had been following the work of Bradley McCallum and Jacqueline Tarry with increasing interest for nearly ten years. I knew that their powerful videos about their experience as an interracial couple, their public projects engaged with challenging urban concerns and their exploring the imagery of the Civil Rights Movement would be a natural fit for EDS. Their work represented an opportunity to expose the students to community-based work and to the challenge of re-siting many previously site-specific works in new contexts. As they considered the artists’ work in dialogue with Baltimore and its history, the students acquired an understanding of the Contemporary’s mission and unique approach to exhibition-making. Mindful of the city and the audience, they revised the traditional format and exhibition structure of a mid-career survey, transforming the city of Baltimore into the incredibly rich and varied network that is Bearing Witness.

— Irene Hofmann, Contemporary Museum Executive Director and Curator, 2006-present and George Ciscle, Contemporary Museum Director, 1989-1996; Curator-in-Residence, MICA, 1997-present

4 5 FOREWORD A PEDAGOGICAL PERSPECTIVE

Like all EDS projects, Bearing Witness: Work by Bradley McCallum & Jacqueline Tarry marks a collaborative effort between artists, students, and the arts and culture community of Baltimore. In becoming familiar with the work of McCallum and Tarry, my students gained a solid knowledge of the artists’ practice and its place within the larger context of contemporary art as well as an appreciation of what it means to organize a large-scale, mid-career survey from start to finish. Situating this complex body of work in Baltimore required the careful study of diverse institutions throughout the city in order to mount an exhibition of this scale. With the support of their mentors, this group of MICA students bravely embraced the challenge of creating a multi-venue exhibition whose respective installations would stand alone and, at the same time, function as parts of a larger, coherent whole. With this goal in mind, they have mapped out a unique path of art, culture and history for viewers of this show. Working within their respective teams as project managers, graphic designers, curators, educators, Web programmers and site researchers, these students have produced a professional exhibition of the highest quality, achieving their goal of sharing this work with the MICA community as well as Baltimore residents and visitors. Bearing Witness, the fruits of their labor, demonstrates beautifully how art can at once inspire responses and construct new relationships. Put otherwise, while the exquisite form and bold content of McCallum and Tarry’s art provoke powerful reactions, these students have enhanced the spectatorial experience through their consideration of temporary homes for these works. Bearing Witness articulates connections amongst these works, as seen in the thematic shows at the Contemporary Museum and Maryland Art Place, which respectively underscore performance and identity, and the artists’ prolonged engagement with the legacy of slavery in the U.S. In addition to highlighting how site-specific projects survive in the gallery spaces, Bearing Witness elucidates how work adapts to new environs, preserving its purpose while also morphing its messages to suit a new site. As Eva Díaz has shown, Bearing Witness extends the lives of artworks such as The Evidence of Things Not Seen, The Manhole Cover Project and Bearing by providing fertile ground for growth in the meaning of these works as they acclimatize to their homes at the Carroll Mansion, the and The Walters. And the artists’ installation Sacred to the Memory of… at the Reginald F. Lewis Museum exemplifies how a cultural figure—Billie Holiday— stands as a referent for both painful and proud moments in history. Finally, siting Endurance in MICA’s sculptural Brown Center points to the dramatic differences in the experiences Copasetic (after Bill “Bojangles” Robinson), 2009; set of four paintings from the Projection series of today’s young people, while the placement of Witness in the Cohen Plaza heightens our awareness of police violence. I am very proud to have worked with such a talented group of students, colleagues and artists who understood from the inception of this project the potential for this premise on both poetic and political levels.

— Jennie Hirsh, Assistant Professor of Modern and Contemporary Art, Department of Art History, Theory & Criticism , MICA

6 7 A PEDAGOGICAL PERSPECTIVE EXHIBITION DEVELOPMENT SEMINAR 2009-2010

BEARING WITNESS is a multi-venue survey of In curating Bearing Witness, we are honored to extend the vision of George Ciscle, who founded the Contemporary Museum in 1989 and established the Exhibition Development over a decade of work by the husband and wife Seminar at MICA thirteen years ago. Ciscle’s choice of EDS as his contribution to the collaborative team Bradley McCallum and Jacqueline Contemporary’s Project 20 allows his educational philosophy and socially charged conception of curatorial work to converge. As students working with established artists in an exceptional Tarry organized by the Contemporary Museum curatorial and pedagogical paradigm, we are committed to Ciscle’s vision of learning-by-doing. and the Maryland Institute College of Art’s 2009- McCallum and Tarry’s art reflects the Contemporary Museum’s mission of commissioning and presenting work that addresses and challenges Baltimore’s diverse population. In fostering 2010 Exhibition Development Seminar (EDS). This relationships with various institutions, we seek to extend our influence beyond our academic environment and to amplify the voice of contemporary art in Baltimore. We are responsible for exhibition has a dual mission. First, we seek to every aspect of the project, including curatorial and site research, design and production present an exhibition that connects McCallum and of print and Web materials, and planning and implementation of educational programming. Guided by team mentors, we are invested in exploring our place in the Baltimore community Tarry’s civic, community- and advocacy-based projects and in engaging artists, students, museums and galleries through creative curatorial practice. with their studio- and gallery-based video, Our process began with two tracks of research. The first took us deep into more than a decade of artistic production by McCallum and Tarry. The second took us into Baltimore in search of and installation works. The shared theoretical locations for a multi-venue exhibition. We explored possible sites by studying the city underpinnings and art-historical context for these and its institutions; we examined maps, consulted archives, accessed resources of the Maryland Historical Society and attended Baltimore Heritage lectures. Our research lead us onto the works have rarely been discussed. In presenting streets, to public and private venues, including churches, abandoned theatres, museums, public parks, tourist sites, storefronts and historic districts. We considered factors such as location, these projects together for the first time, we strive to historical connections to the artists’ work, accessibility, safety and logistics; over time, a diverse reveal the conceptual, aesthetic and historic threads group of viable locations emerged for the artists and curators to consider. In making selections for this exhibition, we worked closely with the artists to understand in their practice. Second, given the powerful content of their practice, the original contexts of their installations and how to translate these projects to McCallum and Tarry’s work—addressing such themes new institutions. We sited works at seven locations, drawing connections between the artworks and the venues’ collections, histories, missions and locations. In addition to five venues as urban violence, homelessness, race relations that showcase single large-scale installations, two venues permitted larger groupings of works. and representation—we, in our curatorial endeavor, Civil rights, race representation and histories of slavery became prevailing themes at MAP, while self-portraiture, contemporary racial identity and media stereotypes became the focus create meaningful connections between their works of the Contemporary. The resulting installations of originally site-specific works provide a comprehensive look at McCallum and Tarry’s career and generate dialogues between previously and Baltimore’s local issues, institutions, histories separate projects. With Bearing Witness, we hope to inform and enrich the visitor’s experience and communities. and understanding of Baltimore as well as to initiate discussions about issues raised by the artists’ powerful works.

8 MISSION STATEMENT 9 EDS 2009-2010 BRADLEY MCCALLUM & JACQUELINE TARRY

A collaborative artist team since 1998, Bradley McCallum and Jacqueline Tarry have worked and exhibited globally, seeking to surface and discuss issues revolving around marginalized members of society. Their work, which takes many forms—large-scale public projects, performance, sculpture, painting, photography, video and self-portraiture—challenges audiences to face issues of race and social justice in communities, history and the family. Deeply embedded in their work is a sense of personal and social heritage, which not only connects the work to the location where it is viewed, but also invites spectators to relate their own experiences to the themes that McCallum and Tarry present. Site-specificity is an integral aspect of their work; for each piece, the location in which the artists display the work speaks volumes in support of their conceptual framework. Some of McCallum and Tarry’s recent exhibitions include Prospect.1 New Orleans, 2008, Legacies: Contemporary Artists Reflect on Slavery, New York Historical Society, 2006 and Witness: Perspectives on Police Violence, The Bronx Museum of the Arts, Bronx, NY, 2000. Recent solo exhibitions include Caren Golden Fine Arts, New York, Kinkead Contemporary, Los Angeles and Kiang Gallery, Atlanta. In addition to their gallery exhibitions, McCallum and Tarry have been invited to realize large-scale civic and public works, and most recently have been awarded the commission to create a Malcolm X memorial for the intersection of New York’s Central Park and Malcolm X Boulevard. McCallum holds an MFA from , and Tarry completed the Whitney Independent Study Program in 2003. The artists live and work in , New York.

Untitled (Bradley Front), 2006; Cut series Untitled (Jacqueline Front with Hands), 2006; Cut series

We would like to extend our gratitude to Irene Hofmann for her invitation to work with the Contemporary Museum, and for her vision to form an alliance with George Ciscle and Jennie Hirsh of MICA to guide the EDS students in presenting a survey of our past work and commissioning a new video. The pedagogical values of this program and the collective challenge of mounting this exhibition are formidable; the students and their mentors have earned our respect for their tireless energy and enthusiasm. Our practice does not represent the myth of ‘artists laboring alone in the studio’; rather, it is shaped by a network of individuals who have worked with us over the years to realize our vision. We give special thanks to Matthew McGuinness, who has been there from the beginning, as well as Brian Harnetty, Andrei Kallaur, Sara Odam, Gavin Rosenberg, David Schweizer, Kelly Song, Jeff Sturges, Imani Uzuri, Patricia Vasquez, Roy Wilson, Ben Zimbric and countless others who contributed to specific projects. We would also like to thank Simon Watson for his longstanding support of and belief in our work, Masashi Shiobara and Sachiko Iwase of Nichido Contemporary Art in , and Nordine Zidoun and Leonor Comin of Galerie Nordine Zidoun in for their continued representation, as well as Caren Golden, Leigh Conner, Marcello Marvelli, John Kinkead, Marilyn Kiang and Lisa Dent for presenting our work at critical moments in our career. And lastly, we would like to thank our son Otis for his inspiration as we continue to navigate this journey. — Bradley McCallum & Jacqueline Tarry

10 11 MCCALLUM & TARRY “ THE SUBSTANCE OF THINGS HOPED FOR, AND THE EVIDENCE OF THINGS NOT SEEN…” Hebrews 11:1

When I moved to North Carolina as a girl, my grandmother began taking me on road trips throughout the South. Born in Beaumont, Texas near the Louisiana border, she remains a deep partisan of the “Southern cause,” at times to a degree that you might scarcely imagine she was born in the twentieth century, not in a more august era of Southern glory. Our trips brought us to celebrated period homes, to antebellum plantations, and to the historic monuments and battlefields of the War Between the States, as she always called the Civil War. Touring those mansions with groups of curious retirees and Daughters of the Confederacy types, a great deal of delight was given voice by visitors remarking on the opulence of these faultlessly restored spaces. I don’t know how enlightened such tours are today, but in the 1980s the narrative was of a genteel lifestyle of hospitality, taste and refinement—in short, “Southern Living”—brought crashing down by the War of Northern Aggression, etc., etc. As the plantation tours wound down in the breezes of lovely verandahs and under towering colonnades, the entire economic substructure of the lavish prosperity on display was dispatched with a passing gesture to the outbuildings in which “the help” had lived and cooked for the big house. But even as a child, I knew that slavery was the elephant in the drawing room. Karl Marx once famously said that capital comes into the world dripping with blood and dirt. Undoubtedly, the wealth extracted from human bondage has erected some of the most extravagant architectural fronts to mask its ignoble origin in the “peculiar institution” of slavery and its continuation in policies of racial segregation and Jim Crow. Artists Bradley McCallum and Jacqueline Tarry brought their work The Evidence of Things Not Seen (2008) to a similarly embellished plantation space in New Orleans, Louisiana, and have again installed it in an early nineteenth-century period home in Baltimore, Maryland. In its first incarnation as part of the exhibition Prospect.1 New Orleans in 2008, Evidence was sited at the African American Museum in the Tremé Villa, an antebellum mansion constructed in 1828. The work consists of 104 portraits, drawn from the available mug shots of a recently unearthed cache in the Montgomery County Sheriff’s Department of the nearly 150 civil rights protesters arrested throughout the 1955-1956 Montgomery, Alabama Bus Boycotts against racial segregation. McCallum and Tarry’s installation in New Orleans deployed brilliant and regal claret—one could even say blood-colored—walls to dramatize the distinction between the criminalized protesters and the backdrop of opulent architecture. This contrast was heightened, indeed echoed, by the fact that each portrait is itself a split image: the sepia-toned, oil-on-linen paintings of arrestees are overlaid with a second, printed photographic layer. Rendered on the translucent silk scrim that is McCallum and Tarry’s signature process, this subtle, iridescent film reproduces the original photographic mug shot of the arrestee, including the police identification number. Accompanying the salon-style installation of these variously sized, rectangular and oval works was a sound component with two voices, call-and-response style, listing the names of those depicted. McCallum and Tarry’s portraits represent men and

The Evidence of Things Not Seen, 2008; Prospect.1 New Orleans; New Orleans, LA; installation view

13 EVA DÍAZ women of all ages dressed in their Sunday best, along with men in military and ecclesiastic Because the projects McCallum and Tarry undertake frequently relate to the local contexts for uniforms. Familiar faces—a sweet, boyish Martin Luther King, Jr., noted civil rights leader Ralph which they were commissioned and at which they were originally exhibited, mounting a survey D. Abernathy and boycott-initiator Rosa Parks, with a flower in her hair—are recognizable of their work presents challenges. This citywide collaboration features locations that creatively among dozens of everyday citizens who also chose to present themselves at the Montgomery juxtapose their work with aspects of Baltimore’s local histories, themselves rich with themes at courthouse in the spring of 1956, after being indicted under the flimsy charge of violating a the heart of the artists’ practice. 1921 statute that prohibited boycotts “without just cause or legal excuse.” For example, McCallum and Tarry’s 2006 project Bearing, like The Evidence of Things Not Seen, From May through July 2010, these works will hang in the ground-floor rooms and hallways addressed a local context in its original conception. First created in response to the Medieval and of the Charles Carroll Mansion in Baltimore’s Historic Jonestown neighborhood, adjacent Early galleries of the Philadelphia Museum of Art, these seven silk scrims of richly to Little Italy and the . This house, built between 1804 and 1808, was the winter rear-lit portraits of African American teenage mothers depicted before gold-leaf backdrops residence of Charles Carroll of Carrollton, the only Catholic signatory of the Declaration of are currently reinstalled in The , along with an audio component featuring Independence and one of the fledgling nation’s wealthiest men. Recognized as the nation’s a sound collage of interviews of the images’ subjects.1 Because The Walters contains a strong largest slaveholder at the time of the American Revolution, Carroll owned between 400 and collection of Ethiopian Christian artifacts, hanging these larger-than-life portraits of women, 500 slaves in the 1770s. ThusEvidence moves from one fraught site in the history of African alone or with their children, alongside historical religious images of the Virgin Mary with American labor to another. the baby Jesus makes for a compelling artistic conversation between different temporal periods McCallum and Tarry are married and live in Brooklyn, New York; they have collaborated and cultural events. artistically since 1998. Tarry is African American, and McCallum is of European descent. Much And, for the duration of Bearing Witness, the Phoenix Shot Tower (sometimes known as the of their work confronts the legacy of racism in the , sometimes by probing the Old Baltimore Shot Tower) likewise houses a portion of a project concerning gun violence. history of de jure legislation, and later de facto prohibitions, against interracial relationships. In The Phoenix Shot Tower was the tallest building in the U.S. until 1846; erected in 1828, some instances, they build on specific circumstances about the locations in which they have been it rises 215 feet 9 inches and was used to produce “drop” shot for small game hunting and other invited to exhibit in order to produce new work that considers histories of racial discrimination, purposes. In its original incarnation at the in Hartford, Connecticut, incidents of legal injustice and patterns of economic inequality. The Manhole Cover Project: A Gun Legacy consisted of 228 custom-designed manhole covers In a move of virtually unprecedented scope, twenty fine arts students from the Maryland that together weighed 39,216 pounds. This was equal to the exact weight of the 11,194 guns Institute College of Art have collaborated with six of Baltimore’s institutions of arts and culture confiscated by Connecticut law enforcement that were melted down as scrap between January 1, to mount the mid-career retrospective Bearing Witness: Work by Bradley McCallum & Jacqueline 1992, and July 31, 1996, the period preceding the display of stacks of the manholes on wooden 2 Tarry. These venues include the Contemporary Museum, Carroll Museums (comprising the palettes in front of the Wadsworth. In its new version in Baltimore, a selection of the manhole Carroll Mansion and the nearby Phoenix Shot Tower), Maryland Art Place, Maryland Institute covers, along with an audio component of the work including testimonies by Hartford residents College of Art, Reginald F. Lewis Museum of Maryland African American History & Culture affected by gun violence, sits inside the base of the Shot Tower. Together with many of the and The Walters Art Museum. In sum,Bearing Witness presents more than 150 individual works other McCallum and Tarry projects included in this retrospective, works such as The Evidence from seventeen of the artists’ different series. of Things Not Seen, Bearing and The Manhole Cover Project pressure the notion of site into a temporal dimension activated by each new curatorial contextualization.

this and opposite page: The Manhole Cover Project: A Gun Legacy, 1996; detail

14 15 EVA DÍAZ Using the installation of The Evidence of Things Not Seen as a case study—the piece using the beginning with 6691 and continuing through 7133; the paintings resting beneath are free of civil rights struggle in 1950s Alabama as its source material, first exhibited in New Orleans and any criminal markings. Because the painted underlayer differs only slightly from the photographic now displayed at the Carroll Mansion—one can see how art practices that have come to be scrim, a nearly holographic dimensionality pushes the images far beyond the documentary known as “site-specific” may come to concern themselves with more than site alone. These works evidence of their source imagery. Instead, the paintings-cum-photographs become spectral traces image and imagine narratives about the present and past in ways akin to the kind of civic and of the ever-receding history of Jim Crow. Each image contains a subtle scale shift between cultural representation that was once embodied in history painting. A better designation for these its top and bottom layers, producing a complex spatial projection into the viewer’s field of vision. works might be historically-specific, or even memory-specific. This complicated image field triggers a temporal delay in apperception of the work, as the viewer tries to resolve how the image operates materially and visually. “Site-specific” has been used to describe art practices created in response to conditions particular to the location in which they are exhibited. Beyond that rather general definition, many have After inspecting the 104 images, the viewer recognizes that every face is of an African American. quibbled over how to be more specific about the term site-specificity. According to art This was not an easy struggle, nor was it a victory conceded with grace. People fought for historian Tom Crow, site-specific artworks are most compelling when they are temporary–that their rights and suffered for their labors. They organized carpools and walked for nearly a year, is, when they comment on the dynamic spatial and institutional parameters of the sites for which even in rural areas. King’s house and those of other boycotters were bombed, and each they are conceived and in which they are displayed.31 Widening this relatively narrow definition arrestee faced fines and legal fees. The portraits on display memorialize actions of immeasurable of the term, art historian Miwon Kwon extends the notion of site-specificity beyond the merely courage, as everyday people mobilized against the seemingly intractable prejudices of Jim temporary, into what she termed “discursive” sites.4 In this, she means that the work participates Crow. And so the experiential delay in viewing these works is a metaphor that memorializes in a longer arc of research and discussion connected to the socio-historical context of the work’s another kind of delay: the longue durée of the fight for racial justice in the U.S. production and reception. I would like to push her definition of site further to understand how As Evidence enters a new phase of its existence at Baltimore’s Carroll Mansion, it is worth asking artworks represent events of the past, that is, how in this process they create historical how this new site affects the work and how the work affects the new site. In its original iteration, memory and how they continue to do so after the works have been completed. Often, and the work not only addressed the history of racial discrimination in the South, but also responded this is particularly evident in McCallum and Tarry’s work, this effort of representing past events to the sumptuous architecture of antebellum mansions and the histories of slavery, segregation foregrounds not only the historical episodes to which the work topically addresses itself, but also and Jim Crow that were masked by that splendor. Obviously, the current location of The Evidence emphasizes the time and site in which the work is exhibited, and makes connections of Things Not Seen in the former home of the largest slave owner in the U.S. is no coincidence. to future contexts in which the work might be displayed. That is not to say that the element of How does the work, installed in response to specific social, historical and geographical space implied in the phrase “site-specific” is unimportant. Instead, I want to emphasize that the circumstances of Montgomery, Alabama, and the Tremé district of New Orleans, continue to diachronic axis of time and process becomes ever more important as the works travel to various adapt to new sites two years after it was first shown? venues beyond their first. If we can telescope from the particular to the general, it is clear that Evidence addresses much To return to The Evidence of Things Not Seen, a first, striking aspect of the work is the ghostly effect more than the1955-1956 arrests of African Americans in Montgomery; that The Manhole of McCallum and Tarry’s characteristic, two-part image processing. Only the overlaid, silk Cover Project moves beyond a strictly local context and extends into broader debates about gun photographic portions of the compositions contain the police ID placards that logged a sequence

this and opposite page: The Evidence of Things Not Seen, 2008; detail

16 17 EVA DÍAZ PARTICIPATING VENUES

control and violence in the U.S.; and that Bearing concerns wider issues of urban poverty and the Contemporary Museum prevalence of teenage pregnancy among minorities beyond Philadelphia. Yet answering the Evenly Yoked, 2010 question I posed about the shift in sites from originary to successive ones might require tracking Projection, 2009-2010 the “life” of an artwork differently from how the work has been traditionally understood–to Whitewash, 2006-2009 identify how a work is redeployed to reflect on new and future sites, even after artists have Bloodlines, 2007 completed their initial intervention. In short, this demands a consideration of the choices and Exchange, 2007 arguments that go into curating a work for and at any potential site. In a certain sense, “white Cut, 2006 cube” art galleries were conceived as spaces where numerous unrelated art works could be Otis, 2004 assembled together, thereby conventionalizing such sites as neutral so that the contemplation of the visual elements of the art object could be foregrounded. Of course, no museum or art gallery Maryland Institute College of Art is ever neutral; but in their unadorned uniformity, modern and contemporary art galleries aspire Endurance, 2003 to a certain placeless-ness: a generalized space of cognitive reflection. Witness, 1999-2000 But what about works that insist the viewer think about not just the geographical place The Walters Art Museum in which she finds herself, but also the historical place too; about relationships among viewers, works, institutions of display, and local areas and larger communities? Evidence provokes Bearing, 2006 pressing questions about how a curatorial process can extend the life of site-specific works by Carroll Museums: Carroll Mansion transplanting them to new contexts. In this sense, historically-specific art practices represent a The Evidence of Things Not Seen, 2008 process of using sites as an aid to memory and other things that are experienced but rarely seen. Carroll Museums: Phoenix Shot Tower

The Manhole Cover Project: A Gun Legacy, 1996

Reginald F. Lewis Museum

Sacred to the Memory of...., 2010

Maryland Art Place

Eva Díaz is Assistant Professor of Contemporary Art in the Department of and Design at Silence, 2001 Pratt Institute in Brooklyn, NY. Looking For: a slave named..., 2003 Topsy Turvy, 2006 1. See Crow, “Site-Specific Art: The Strong and the Weak,” inModern Art in the Common Culture (New Haven: Yale University Press, 1996): 131-150. Whitewash, 2006 2. Kwon makes this argument in “One Place After Another: Notes on Site Specificity” inOctober 80 (Spring 1997): Within Our Gates, 2003 85-110, and later expands upon it in her book One Place After Another: Site-Specific Art and Locational Identity (Cambridge, MA: MIT Press, 2004). 3. Originally installed at the FUEL House in Philadelphia, Bearing was sponsored by the Philadelphia Mural Arts Project. 4. The Manhole Cover Project (1996) is a work that predates the partnership between McCallum and Tarry. The curators of Bearing Witness decided to include this work, generally credited solely to McCallum, in a retrospective of both artists as a nod to the generative conversations the work triggered that resulted in McCallum and Tarry’s decision to collaborate.

18 CONTEMPORARY MUSEUM

The Contemporary Museum, the primary venue for Bearing Witness: Work by Bradley McCallum & Jacqueline Tarry, is a small, non-collecting museum devoted to presenting contemporary art. Since its founding on the occasion of the first Day Without Art in 1989—marked by a bold exhibition that explored artistic responses to the AIDS crisis—the Contemporary has been an experimental institution, responsive to the cultural, social and political climate of our times, serving as a laboratory for new ideas and new models for contemporary art exhibitions. In its first decade, the museum became known as a “museum without walls” and presented exhibitions in temporary spaces and in the homes of institutions such as the and The Walters Art Museum. Today, the Contemporary operates from a lively storefront in Baltimore’s Mt. Vernon neighborhood, continuing to site projects beyond its walls, throughout the city and with partners from around the region. Throughout the Contemporary’s history, artist residencies and new commissions have been at the core of the museum’s program producing enduring collaborations with local communities and institutions. The Contemporary Museum is the organizer and primary venue for Bearing Witness. As the centerpiece of this mid- Evenly Yoked, 2010; production still career survey, the Contemporary premieres McCallum and Tarry’s newly commissioned video within the context of a gallery exhibition that underscores the role of autobiography, the archive, performance and masquerade in the artists’ œuvre.

20 21 CONTEMPORARY MUSEUM Evenly Yoked 2010 high definition video wih sound

In Evenly Yoked (2010), their latest they examine themselves and each other collaborative video endeavor and part of through carefully deployed mirrors— the Projection series, McCallum and Tarry on stage and on the wall—occupying the explore their relationship as an interracial ambiguous terrain of this connection. couple, this time through the lens of a Facing one another across a dressing table, series of interconnected and historically they reflect on their union and return to a bound narratives. Dressed intermittently as premarital state in their relationship, playing a contemporary couple on their wedding out the most private of emotions before an day, an aristocratic couple in the antebellum empty theater. Architecturally framed by a south, and a confederate soldier and a literal stage, McCallum and Tarry transform slave, the artists look at race relations on an themselves into thespian players in a intimate scale over time and across space. precarious performance that reflects on the These three sets of roles permit McCallum pleasures and pitfalls of union. In addition to and Tarry to investigate the tensions of their period make-up and dress, McCallum bond as well as the personal, cultural and and Tarry continue the theme of exchange historical challenges that have informed it seen in their earlier video works, literally as they embody these iconic characters and putting on and taking off each other’s black enact their experiences. Seamlessly shifting and white make-up, conjuring highly charged between the sentiments of brides and grooms images of vaudeville performers and circus on their wedding day, and the prickly power clowns. Despite their self-consciously chosen structures dictated by stereotypes of race and outfits and mutually exchanged complexions, gender in the antebellum south, the artists they remain at once separated not only by a negotiate the intense presence of the painful divisive mirror but also by the very differences bonds and joyful distinctions inherent in that draw them to one another, differences their, and indeed all, conjugal relations. that inevitably surface no matter what their The culmination of their interest in self- roles. Thus their clever costumes—elegant portraiture and a conflation of the intimate and celebratory nature of wedding clothes, and public histories that permeate their the menacing constraints of a corset, marriage, this newly commissioned work and the unmistakable markings of military asserts an array of familiar binaries: white and soldier and slave—enable the artists to black, master and slave, husband and wife, look at one another as a means of looking plantation owner and lady of the manor. within themselves as they embrace and As the artists oscillate between these guises, negotiate the most difficult and universal as well as their mutual love and struggle, of all human relations.

opposite page, top and bottom:Evenly Yoked, 2010; video stills

22 23 CONTEMPORARY MUSEUM Projection 2009-2010 oil on linen, toner on silk

McCallum and Tarry’s new Projection series seen in Family Portrait I (after Imitation of consists of rectangular, oil-on-linen paintings Life, 1934) (2009) and Family Portrait II (after with the artists’ signature sheer silk overlay. Imitation of Life, 1934) (2009). These images The imagery for these pronounced but restage critical scenes in John M. Stahls’ chromatically muted canvases stems from Imitation of Life (1934), when a black single the artists’ archival research on film stills and mother is confronted by her lighter-skinned photographs of stage performances, and thus daughter who, in trying to “pass” as white, offers a context for their newest video. The rejects not only her racial background but palette of these paintings is primarily black- also her mother’s love and affection. and-white, with accents in varying skin tones; The source material forProjection brings the introduction of color establishes depth together theater, performance and cinema and emotional space in the pictorial field. through works whose subject matter bridges TheProjection series explores the intersection the gap between those media. Iconic figures of race and the entertainment industry appear in a number of these canvases. For by bringing to the fore a panoply of racial example, in Fashion Show (after Mahogany) stereotypes propagated in theater and and Reflection (after Mahogany), both from cinema from the 1920s through the 1970s. 2009, Diana Ross struts before a news kiosk Reproducing canonical scenes and iconic loaded with periodicals that mirror her characters drawn from minstrel shows, own image as an up-and-coming fashion blaxploitation films and more contemporary designer and then on the runway itself. performances provides an opportunity to Likewise, Bill “Bojangles” Robinson appears expose not only the racial tensions at work in a number of canvases as a stage performer within these narratives but also the ways in within films, such asCopasetic (after Bill which reproducing these at times hyperbolic “Bojangles” Robinson) (2009). These paintings images offers the possibility of dismantling exemplify the dynamic transformations the prejudices that underpin them, pointing enabled by Projection, from still images to racial difference as a cultural construction. of films that crystallize the emotional The transparent silk stretched over the oil crises of the narrative to “moving pictures” paintings creates the illusion of movement, that challenge the limits of painting and which alludes to the structure of cinema reverberate with similar drama. The resulting itself. In other words, through McCallum and images in Projection generate a contemplative, Tarry’s double structuring of the pictorial illusionistic forum in which history meets plane, these paintings become cinematic collective memory and nearly forgotten static surfaces, and their subjects re-animated, as images can be revivified.

top: Family Portrait I (after Imitation of Life, 1934), 2009, from the Projection series bottom:Family Portrait II (after Imitation of Life, 1934), 2009, from the Projection series

24 25 CONTEMPORARY MUSEUM Whitewash 2006-2009 oil on linen, toner on silk

Bloodlines 2007 silkscreen on foil wallpaper with flocking

Exchange 2007 high definition video with sound

First conceived in 2006, Whitewash is a series for the variety of ways in which memory of variously sized, rectangular oil-on-linen and history are both similar and different. paintings with silk overlays. McCallum and Put otherwise, the intersection between the Tarry conducted research for this series in painted and printed images examines the at numerous photographic archives housed times incompatible relationship between at The Library of Congress and The New historical records and memory. In conjuring York Public Library, amongst others. These an interpretive space between painting and canvases examine the history of race in the photography, these images change according United States through the depiction of social to the viewer’s position relative to the injustice during the civil rights era. The painting, as fixed fragments of history are set riveting compositions in Whitewash feature into motion. mesmeric images of brutal attacks on civil At the Contemporary Museum, the artists rights activists, such as the assassinations of have used paintings from the Whitewash civil rights leaders Dr. Martin Luther King, series in an installation that also includes their Jr. and Malcolm X in the 1960s, as well as custom-designed wallpaper Bloodlines and a lesser known but seemingly familiar images. video titled Exchange. Together, these three A striking combination of painting and bodies of work examine the historic echo of photography, the artists’ distinctive process the Civil Rights Movement and the hardships for this series was inspired by the concept that preceded this fraught period in history of ‘whitewashing’ as a means of masking the against the artists’ own family histories. From truth. The trademark technique used in the Bloodlines, 2007; Caren Golden ; , NY; installation view a distance, this wallpaper appears to be a Whitewash images entails painting the image decorative pattern that features shimmering on a linen support and then covering the silver, soft pinks and blood-red foliage, but painting with a delicate layer of translucent closer inspection reveals that this sumptuous silk with a print of the image on which the wallpaper incorporates images of both of the painted layer was modeled. With an almost artists’ amalgamated blood cells together with three-dimensional effect, the resulting their respective family crests. doubled image stands as a visual metaphor

26 27 CONTEMPORARY MUSEUM Mounting the historically-based Whitewash into slavery in the U.S. and later was used paintings directly onto the Bloodlines in an activist court that challenged wallpaper juxtaposes cultural history with miscegenation laws. This installation at the personal heritage. In Exchange, the self- Contemporary features a selection of the portrait video component of the installation, most recent works from the Whitewash series, McCallum and Tarry explore interracial whose lower, painted layers clearly depict relationships through their own bodies in historical events borne out of racism, such a highly personal and carefully composed as violent responses to political protests, encounter. The two artists—identically while their upper silk surfaces contain less clad in blue jeans and crisp, white tailored focused versions of those same images, shirts trimmed with a paisley pattern, draw thematizing the willful forgetting of such blood from one another’s forearms and horrific events. Reverberating reproductions subsequently “exchange” their blood. As of photographs shot during the civil rights the narrative unfolds, the viewer witnesses era, these Whitewash images document the each artist’s blood traveling through medical trials and tribulations of victims and activists tubing to finally meet that of the other, fighting for racial equality. Taken as a whole, implying that their blood is one and the the aesthetically rich and powerful subject same. Cutting back and forth between shots matter featured throughout this installation featuring the artists’ tense faces and shots addresses race on both cultural and personal showing only fragments of their arms, this levels by illuminating the place where social video resonates with individual and collective history meets personal experience, through meaning. Both the video and wallpaper subtly the exploration of the artists’ own families refer to the “One Drop Rule,” according to and their relationship. Considered together, which a person with as little as “one drop” of the works in this installation examine the black blood in his or her body was considered effects of time and history on contemporary “colored.” This nineteenth-century law was relationships, and especially the relationship originally instated as a means of increasing the of McCallum and Tarry, as it maps out the slave population of mixed-race children born past, the present and the future. 1

1 Please see the analysis of Whitewash under Maryland Art Place’s entry for further discussion of this series.

top: for a Klansman, Homestead, Florida, 1923 (after unknown photographer; New York Public Library Image Collection), 2007; from the Whitewash series bottom:Voting Line (after unknown photographer; New York Public Library Collection), 2008; from the Whitewash series

28 29 CONTEMPORARY MUSEUM

1 this page: Exchange, 2007; video still opposite page: Bloodlines, 2007; detail

31 CONTEMPORARY MUSEUM Cut Otis: some thoughts on being a separate human being 2006 2004 high definition video with sound 16mm film transferred to video with sound

Cut is a powerful performance project that The subtle yet haunting audio for the piece Shot on the of the birth of McCallum mother.” The lines spoken by Tarry encompasses both a video and related still combines the unmistakable, jarring sound and Tarry’s son, Otis, this video explores throughout this short but potent piece echo photographs. This discomfiting self-portrait of hair being slowly sawed with a blade, the anxious anticipation of the lifelong trite expressions uttered by frustrated and tracks McCallum and Tarry as they slowly segments of dialogue from the slave-bidding connections and separations that occur angry parents whose disappointment in their and deliberately cut each other’s hair with a sequence in a cinematic adaptation of Harriet between a mother and her child. This children’s failure to fulfill their fathers’ and straight-edge razor. A complex and unsettling Beecher Stowe’s Uncle Tom’s Cabin (1852) minimalist work—Tarry appears clad in mothers’ expectations for them fuels what video, Cut confronts the viewer with an and a poignant French liberation song whose simple, white jersey undergarments and sound like abusive statements, although experience that is at once sexually charged, lyrics subtly reference an inspiration for this placed against a black background—is a they are sentiments uttered from a source of racially fraught and emotionally layered. work–a photograph of French women whose riveting performance of maternal emotions maternal affection. In this sense,Otis provides The encounter between these two carefully hair was cut as punishment for “collaborating enacted in the absence of filial response. As Tarry with the opportunity to exorcise choreographed figures is simultaneously an with the enemy” by taking German lovers the artist’s hands intermittently caress her such sentiments just before the first violent act of collaboration and dominance. This during the Occupation in World War II. own swollen abdomen and gesticulate toward experience that she will soon share with her intimate interlude explores the complicated Laden with symbolism, the dangerous her otherwise invisible child, her body and son as they separate: birth. Thus, while Otis terrain of racial and gender stereotypes, blades and shorn heads of the artists in Cut soul prepare for birth, an event that will mark represents Tarry’s prenatal performance in territory that is rife with landmines. The allude to a number of biblical, literary and the beginning of her son’s life and the end of advance of Otis’ arrival, this recital likewise intensity of the physical and psychological historical references, ranging from the stories their physical attachment. The monologue of stands as a poetic meditation on motherhood trauma for both artists emerges as the video of Samson, Judith and Holofernes, John the the artist ranges across an emotional expanse more generally, foregrounding the fear and shifts abruptly between close-ups of the Baptist and Joan of Arc to harrowing episodes as she embarks on a one-way conversation anger, excitement and joy, that inform the actual act of hair cutting and wider shots with in world history involving imprisonment, with her yet unborn child, articulating what tenderness and aggression that permeate all full-body views that allegorically establish a torture and even extermination. she imagines to be the nature of their relation bonds between mothers and their children. broader framework for the narrative. then and over time. “I will always be your

this page: Otis, 2004; film still opposite page: Cut, 2006; video still MARYLAND INSTITUTE COLLEGE OF ART

Maryland Institute College of Art (MICA) was founded in 1826 with the continuing mission to educate professional artists and designers. In recent years, the school has seen unprecedented expansion in both its student body and campus, having increased its number of graduates by fifty percent, added its landmark Gateway building, and increased its public and green spaces. With these new developments, MICA has affirmed its place as a leading institution for the education of artists and designers at the undergraduate and graduate levels. The college is located in Baltimore’s historic Bolton Hill, a residential neighborhood that borders on the cultural district of Mt. Vernon, and is within walking distance of the Lyric Opera House and Meyerhoff Symphony Hall. In addition to offering a wide range of studio art majors, MICA is proud to offer one of the nation’s only BFA degrees in art history, theory and criticism, as well as a newly created interdisciplinary concentration in curatorial studies, which is curator-in- residence George Ciscle’s most recent contribution to the history of the College. MICA’s campus is host to two socially charged projects for Bearing Witness. Witness will be installed in Cohen Plaza, while Endurance will appear on the second floor of the Brown Center. Cohen Plaza, a vibrant, outdoor green space connecting the Brown Center, Fox Building and Bunting Center, was named after Ben and Zelda Cohen and was dedicated in 2004. Designed by Charles Brickbauer with Ziger/Snead Architects, the Brown Center was dedicated in October 2003 and is named in recognition of the College’s largest single gift—$6 million from Eddie and Sylvia Brown and family. This generous donation also represents the largest gift to higher education by an African American family top left: T-Bone (August 5th, 2002; 10:01pm-11:00pm), from Endurance; 2003 in U.S. history. top right: David (August 5th, 2002; 7:01pm-8:00pm), from Endurance; 2003 bottom left: Fish (August 5th, 2002; 9:01pm-10:00pm), from Endurance; 2003 bottom right: Billy (August 6th, 2002; 4:01am-5:00am), from Endurance; 2003

34

35 MICA Endurance Witness 2003 1999-2000 c-print, video cast aluminum, photography, audio

Endurance consists of twenty-six life-size dedicated their participation in Endurance This project uniquely combines photography, experienced by those affected by abuses photographic portraits and a single channel to their friends who were lost as a result of sculpture and audio to explore the legacy of power. McCallum and Tarry conceived video that documents a twenty-five-hour life on the streets, thus literally “standing for” of police violence and misconduct toward of Witness following the torture of Abner performance by a group of homeless those individuals. This memorial gesture civilians. For its installation at MICA, Louima, who was beaten and sexually teenagers in Seattle, Washington. Each of the constitutes a quiet but pronounced act of Witness comprises five modified traditional assaulted while in custody of police at the teens who participated in the project stood civil disobedience in opposition to Seattle’s police and fire call boxes that have been 70th Precinct Station House in Brooklyn, silently before the camera on a street corner civility laws, which designate standing or reconfigured to emit audio testimony given New York on August 9, 1997. Later, a as pedestrians and traffic passed by, seemingly sitting in one place a criminal offense. This by police officers, activists, grieving parents, citywide installation designed as a kind without taking notice of them. The video collective portrait reveals the complicated youth and other witnesses of police violence. of “tour” was sponsored by the Bronx unfolds with a time-lapsed effect that speeds and often intertwined civic issues that defy The five anthropomorphic sculptures Museum of the Arts. For this occasion, on up surrounding traffic, pedestrians and light, a simple interpretation of this marginalized installed in Cohen Plaza seek to raise twenty consecutive days, these call boxes which dissolve into ephemera in a spatial and community. Installing Endurance on the awareness about this issue in the context of an were installed on New York streets marked temporal conversation with the static teens. second floor of the Brown Center—an iconic urban college campus by creating an intimate indelibly by police violence, as well as in The photographic portraits of the teens were building that represents the heart of the space in which to listen to the voices of those places where accountability for these violent shot before a dark nondescript background, MICA campus—juxtaposes the challenges, whose lives have been irreversibly changed by acts was determined. At a time when the allowing the viewer to focus on nothing other dangers and loneliness of the broken lives police violence. public had become acutely aware of the than the teens’ exposed emotions. of these teens on the streets with young In an earlier iteration of Witness at the issue, Witness inspired the viewer to consider In the soundtrack to the video, these youth people who have access to the nourishment, Cathedral of St. John the Divine in New long-term solutions and ultimately examined disclose their intimate stories about drug community and support of an educational York City, the work included projections of the challenge of policing a democracy. Today, addiction and homelessness in a candid environment where students and teachers the individuals who shared their testimonies the tragedies and victims Witness addresses manner accompanied by sounds of traffic are encouraged to exchange artistic and slowed to the point of near immobility. allows for the renewal of national attention on and urban life in the background. The youths intellectual ideas. Witness draws attention to the distress, and a continued focus on the mistrust and physical and emotional pain delegation of power.

this page: Witness: Callbox Tour, 2000; installation view opposite page: Endurance, 2003; video still THE WALTERS ART MUSEUM

The Walters Art Museum is located in Mount Vernon’s Cultural District at the corner of North Charles and Centre streets. This internationally recognized institution was formed by William T. Walters and his son , who opened his collection to the public in 1931. The gallery and its collection of 22,000 works were given to the city of Baltimore following the of Henry Walters. Over time, The Walters has grown significantly to include more than 33,800 works of art, with artifacts ranging from ancient sculpture and medieval to Renaissance, and eighteenth- and nineteenth-century European and American masterpieces. With a firm belief in art’s capacity to enrich the human spirit, The Walters has reached out to its surrounding community through free admission, engaging events and unconventional collaborations. The Walters offers an encyclopedic collection spanning the history of art and hosts both temporary special exhibitions and educational programs that draw meaningful connections between the past and the present. Examples include a collaborative partnership with the Contemporary Museum for the exhibition Louise Bourgeois: Femme in 2006, when her art was integrated into the museum’s permanent collection. The Walters has also participated with Johns Hopkins University’s Mind/Brain Institute on an experiment to determine the neural basis of the human aesthetic experience.

Bearing, Shaquanna, 2006

39 THE WALTERS ART MUSEUM Bearing 2006 toner on silk, audio

Bearing is a series of printed silk scrims with collection on display in the Byzantine, photographic portraits of black teenage Russian and Ethiopian Galleries at The mothers. Some pregnant, some with their Walters. As suggested by the many different children, these young women share their meanings of the series’ title—carrying a child, stories through both proud stances and enduring challenges and more—Bearing determined, yet vulnerable, voices as they resonates both conceptually and visually. share visual and verbal testimony about their Inspired by altarpieces housed in the pregnancies and lives following the birth Philadelphia Museum of Art, Bearing was of their children. Formally, these portraits originally conceived as a public intervention echo traditional icons of the Madonna and with the assistance of the Department Child in two ways: their glittering, gold of Human Services. One particular portrait, backgrounds and their tender portrayal of Tymia, startles the viewer by revealing her mothers with children. The audio component abdominal stretch marks as she stands of Bearing provides an opportunity for these with her hands firmly placed on her hips in young women to express intimate reflections a gesture of defiance. In both image and on their experiences. These testimonies word, this series serves as a reminder that and images confront the challenges of peer these young women, and indeed all pressure, sex, pregnancy and the transition to mothers, regardless of their race, age, social adulthood. In referencing portraits and icons background or marital status, share a of the Madonna and Child, Bearing stages a common life experience. powerful dialogue with the permanent

this and opposite page: Bearing, 2006; FUEL House; Philadelphia, PA; installation view

40 41 THE WALTERS ART MUSEUM CARROLL MUSEUMS: CARROLL MANSION

Carroll Museums is an educational, non-profit organization founded in 2002 that is revitalizing two of Baltimore’s most storied landmarks through innovation, collaboration and cultural stewardship. Under the direction of Carroll Museums, the Carroll Mansion and the Phoenix Shot Tower have become educational and cultural institutions dedicated not only to revealing the city’s rich and complicated history, but also to serving as temporary homes to a wide range of exhibitions focused on arts and culture. The Carroll Mansion is one of the city’s finest examples of Federal period architecture. Located in Baltimore’s oldest neighborhood, Historic Jonestown, the Mansion was originally the winter residence of Charles Carroll of Carrollton. Carroll was the only Catholic to sign the Declaration of Independence and was instrumental in drafting the First Amendment, which established the separation between church and state. Carroll was also one of the wealthiest men in the colonies; at the time of his death, he owned property worth more than 1.65 million dollars. This included over 70,000 acres in Maryland, New York and Pennsylvania, city and country houses, stocks, cattle, crops, furniture and silver worth $750,000; moreover, these extensive assets included more than 400 slaves. Carroll’s wealth allowed him to be a key investor in ground-breaking ventures such as the Baltimore Ironworks, B&O Railroad and the Phoenix Shot Tower. Throughout the years following Carroll’s death in 1832, the Mansion underwent a number of changes, serving as the site of a saloon, an immigrant tenement, a sweatshop, Baltimore’s first vocational school and a recreation center. Today, the Carroll Mansion is a site replete with traces and memories of these social injustices and triumphs, labor struggles and progress, culminating in a cultural legacy connected to defining moments in the complex as well as the nation.

Civil Rights Era Arrest Log Book (Alabama Department of Archives and History, 1956), 85.

43 CARROLL MANSION The Evidence of Things Not Seen 2008 oil on linen, toner on silk, audio

The Evidence of Things Not Seen is a series diluted prisoners’ arrest records, omitted on of 104 individually painted rectangular and the painted layer, persist as faint shadows oval portraits. This body of work honors printed onto the silk. Each portrait is further and commemorates the protesters arrested distanced from its original “criminal” context, during and following the historic 1955-1956 locked within a simple, double white Montgomery Bus Boycotts. The source wooden frame that announces this work’s images for these portraits are original mug dialogue between classical portraiture and shots that were taken upon each protesters’ documentary photographic evidence. Newly arrest. The muted color palette and cropping installed at the Carroll Mansion, an elegant of the original image consistently adopted nineteenth-century home whose stately in these portraits imparts an artful elegance federalist architecture communicates to what might otherwise be considered a sense of elevated status, the exhibition perfunctory photographic records of of the portraits in Baltimore establishes a “criminals.” The subtle color highlights the new position of dignity and an occasion to calm resolve and staid spirit of each sitter, as honor its subjects. The Carroll Mansion was well as the disciplined nature of their civil the part-time home of Charles Carroll of disobedience. Proudly clad in their “Sunday Carrollton, the longest lived signatory best,” these subjects further distinguish of the Declaration of Independence. Sited themselves from the context of traditional within this context, the concept of being criminal mug shots through their tasteful arrested, a gesture of criminality, assumes a attire, composed postures and determined more poetic and elegiac meaning as a tool gazes. Familiar faces, such as Rosa Parks and of defiance and liberation. In addition to Dr. Martin Luther King, Jr., are amongst the memorializing the protesters as individuals, many not remembered (and yet numbered) the dense, salon-style hanging of these who join the ranks of those acknowledged in portraits at the Carroll can be read on a history as their gazes meet those of the viewer, second, metaphorical level that recalls their iconic expressions confirming the conventions for displaying family portraits collective impact of all of these individuals. above fireplaces and wrapping around These visually arresting portraits comprise crucial architectural spaces, such as The Evidence of Things Not Seen, 2008; Prospect.1 New Orleans; New Orleans, LA; installation view two layers: an oil-on-linen painting based the curving staircase wall in the mansion’s on the original mug shot and a photographic entryway. Thus situated, these individuals image printed on sheer silk. The resulting demand recognition as a cultural family spectral surface recalls oft-forgotten history, that was historically displaced. as the viewer strains to determine how the

44 45 CARROLL MANSION CARROLL MUSEUMS: PHOENIX SHOT TOWER

Rising 215 feet and 9 inches, the Phoenix Shot Tower is a historical structure located next to Baltimore’s Inner Harbor. The tower was constructed in 1828 for the manufacture of “drop shot” bullets, using a technique in which molten lead was dropped through a sieve from the top of the tower into a vat of water at the bottom. As the droplets fell, each molded into a perfect sphere and then cooled to a solid before collecting below. The shot produced here was used for small game hunting and sport, though the method of production was deemed out of date by 1892. After many years of disuse, by 1921, the tower was scheduled for demolition. It was saved by a group of local citizens who came together and raised the $17,000 necessary to purchase the site, which they subsequently donated to the city. The Phoenix Shot Tower is now one of only three remaining shot towers in the United States, still standing only as a result of the Baltimore public rallying to preserve this historical monument. Overlooking Baltimore’s memorial to fallen police officers as well as neighborhoods that have long been victims of gun violence, this historical landmark stands as a strong reminder of Baltimore’s innovation, industriousness and achievement, and provides a safe haven to contemplate the The Manhole Cover Project: A Gun Legacy, 1996; documentation of fabrication current challenges of reducing gun violence and returning to a safer and more prosperous city for all.

47 PHOENIX SHOT TOWER The Manhole Cover Project: A Gun Legacy 1996 cast iron, audio

The Manhole Cover Project: A Gun Legacy Colt and the family’s lasting effects on the features a selection of the original 228 City of Hartford. manhole covers that were commissioned Pendant to the covers are audio testimonies by the Wadsworth Atheneum Museum of Hartford residents who were affected in Hartford, Connecticut for a site- by the use of these and other weapons. This specific installation. Authored by Bradley particular installation confronts the issue McCallum, this work marks the beginning of gun violence by raising awareness about of McCallum and Tarry’s collaboration. the debilitating impact of violence on The entire collection of manhole covers individual families and entire communities. has the exact weight of the 11,194 guns The Manhole Cover Project is sited for confiscated by Connecticut law enforcement Bearing Witness within the city of Baltimore’s between January 1, 1992, and July 31, 1996; iconic Phoenix Shot Tower, a historical each manhole cover weighs 172 pounds landmark famous for making “drop shot” and is crafted from the smelted cast iron of in the nineteenth century in a historic the handguns. Each cover features a neighborhood that has now long been phrase, “Vincit Qui Patitur,” along with affected by gun violence. The Phoenix Shot two possible translations of the phrase: “He Tower provokes awareness of the tumultuous who perseveres is victorious” and “He who presence and fearsome power of guns suffers conquers.” McCallum’s inclusion of in our midst as conceptualized through The both underscores the ambiguity of this Latin Manhole Cover Project. expression, itself the Colt family motto, and hence an index of the gun industry of Samuel

The Manhole Cover Project: A Gun Legacy, 1996; Wadsworth Atheneum; Hartford, CT; installation view

The Manhole Cover Project: A Gun Legacy, 1996; fabrication and detail

48 49 PHOENIX SHOT TOWER REGINALD F. LEWIS MUSEUM

Located at the intersection of Pratt and President Streets, the prominent, sculptural building of the Reginald F. Lewis Museum of Maryland African American History & Culture boldly draws attention to the Inner Harbor neighborhood as a market in the Baltimore slave trade. This museum opened in 2005 with support from the Reginald F. Lewis Foundation. Baltimore-born and raised, Lewis was an extremely successful and generous entrepreneur, lawyer, CEO and philanthropist, who expressed the desire to support such a museum, shortly before his untimely death at the age of 51 in 1993. The Reginald F. Lewis Museum was designed to fill a perceived gap in the history of African American culture by collecting, preserving, interpreting, documenting, exhibiting and celebrating the rich contributions of African Americans in the state of Maryland. The museum’s permanent collection focuses on artifacts and displays that address the struggles of African Americans in this state, and the exhibition program in these galleries emphasizes three themes: Family and Community, Labor that Built a Nation, and Art and Enlightenment. The museum foregrounds topics such as the history and legacies of slavery and the Civil Rights Movement through both general educational presentations and focused features on individuals, such as Frederick Douglass, spanning the history of African American life in the state from the late eighteenth century to the present. The Reginald Museum’s on-site Resource Center serves as an open study facility focused on the African Lady with Flower (after Lady Sings the Blues), 2009; from the Projection series American experience. Special exhibits at the museum stretch beyond the Maryland context to connect visitors to the African American experience writ large. The installation here for Bearing Witness explores the unique talent of Baltimore- bred Billie Holiday (1915-1959), and her gift for singing simultaneously beautiful and horrific songs such as “Strange Fruit.” Holiday contributed to Pennsylvania Avenue’s reputation as “The Avenue,” which was Baltimore’s cultural and musical epicenter for African Americans from the 1920s to the 1950s.

51 REGINALD F. LEWIS MUSEUM Sacred to the Memory of... 2010 oil on linen, toner on silk, piano, audio

The Lynching of Virgil Jones, Robert Jones and Joseph Riley, July 31, 1908 (after unknown photographer; Southern trees bear a strange fruit, Allen/Littlefield Collection), 2007; from the Whitewash series; oil on linen, toner on silk Blood on the leaves, and Lady with Flower (after Lady Sings the Blues), 2009; Blood at the roots, from the Projection series; oil on linen, toner on silk Sacred to the Memory of..., 2010 Black bodies swinging toner on silk, cotton thread Baby grand piano In the southern breeze Original sound composition: Imani Uzuri, 2010 Strange fruit hanging from the poplar trees. Sacred to the Memory of… is a site-specific The horrific nature of this act deepens as the installation created on the occasion of Bearing viewer attempts to resolve the redoubled Pastoral scene of the gallant south, Witness for the Reginald F. Lewis Museum and blurred imagery whose ghostly effect The bulging eyes and the twisted mouth, of Maryland African American History & visually haunts the viewer. Lady with Flower is Culture. The painting Lady with Flower (after a portrait based on Sidney J. Furie’s 1972 film Scent of magnolias, sweet and fresh, Lady Sings the Blues) is displayed alongside Lady Sings the Blues, starring Diana Ross as a cream-colored baby grand piano attributed Holiday. The magnetic image of Ross, Then the sudden smell of burning flesh. to Billie Holiday; beyond this coupling, along whose melancholic gaze prompts the viewer the axis of the building, the viewer finds a to think about Holiday’s music and difficult delicate, black fabric scrim with a collage of life, enacts a moving likeness of the singer. Here is the fruit for the crows to pluck, photographic images, each printed on sheer The use of the fabric scrim, which partially silk and painstakingly embroidered with cross conceals the disturbing imagery in the For the rain to gather, stitches. This scrim establishes a threshold lynching painting, is a dramatic device that before a second painting, The Lynching of alludes to performance and theatricality. The For the wind to suck, Virgil Jones, Robert Jones and Joseph Riley, July many threads of this installation are woven 31, 1908 (after unknown photographer; Allen/ together by a soundscape that uses the lyrics For the sun to rot, Littlefield Collection), from the Whitewash of “Strange Fruit,” a song made famous For the trees to drop, series. Both paintings feature McCallum by Holiday, in a vocal piece by Imani Uzuri. and Tarry’s signature technique in which the Holiday’s distinctively textured voice and Here is a strange and bitter crop.* printed silk mimics the image painted below, emotionally charged delivery of “Strange causing the figures in these compositions to Fruit” resulted in the unlikely popularity of a appear to move, while the collaged scrim song about lynching. This installation draws deploys the same sheer silk in a different together the legacies of lynching, the Civil manner. The Lynching of Virgil Jones records Rights Movement and Holiday’s career, as the grotesque image of the lynchings of Virgil the installation juxtaposes the jovial nature of Jones, Robert Jones and Joseph Riley in the entertainment industry with the dark Russellville, Kentucky. past of American race relations.

*David Margolick, Strange Fruit: Billie Holiday, Cafe Society, and an Early Cry for Civil Rights (Philadelphia: Running Press, 2000), 15. opposite page: Sacred to the Memory of..., 2010; detail

53 REGINALD F. LEWIS MUSEUM MARYLAND ART PLACE

Currently situated in at the edge of the Inner Harbor, Maryland Art Place (MAP) is a not-for- profit contemporary art center founded in 1981 with a dual mission: to represent and support visual artists in Maryland and to offer expanded public access to artists working within the region. MAP strives to foster the growth of contemporary art production and education in Maryland by presenting exhibitions that feature work by local and national artists; by providing access to opportunities for artists on its website; and by offering experimental and collaborative programming that engages professional artists, fine arts students and the public. MAP not only exhibits visual art in traditional and new media in its three galleries, but also hosts the 14Karat Cabaret, a bimonthly performance series in the basement of its former home at 218 West Saratoga Street. MAP coordinates the Maryland State Arts Council Visual Artists’ Registry and is well known for two ongoing innovative programs: Curators’ Incubator and Critics’ Residency, competitive mentoring opportunities for aspiring curators and critics. The organization has recently initiated a series of temporary public art installations and performances in its surrounding neighborhood with the goal of creating a far-reaching biennial urban art project. The three galleries at MAP offer a large selection of works in various media that center around the legacy of slavery and the Civil Rights Movement in this country as seen through the lenses of self-portraiture, documentary realism and the archive.

Silence, 2001

55 MARYLAND ART PLACE Silence Looking For: a slave named... 2001 2003 engraved granite, silk anodized aluminum sculpture, photography

Silence, a site-specific project that was first as Eli Whitney, James Hillhouse and Samuel Looking For: a slave named... is a large-scale gate installed in Center Church on the Green Morse. In a pointed but elegant critique of created to mark the entrance of the Thomas in New Haven, Connecticut, combines the church’s racist past, the artists reassigned family cemetery, the last remaining evidence photographic portraits, sculpture and sound this memorial language to custom-designed, of a farm that is now the center of the State to draw attention to the congregation’s state fictional gravestones for the departed University of New York, Purchase College of affairs in 1820, when African American black parishioners whose only remaining campus and the home of the Neuberger members of the church formally requested evidence has survived in the form of their Museum of Art. The gate features textual full access to ground-floor seating in their names, member numbers and “colored” information that reveals the identity of the parish. When their appeal was denied—and designation, facts documented in the family’s slaves, some of whom are presumed segregation thus upheld—these members institution’s membership records as well as to have been buried in the cemetery. left the congregation and founded the first in these members’ failed petition. Each of These passages incorporate information African American Congregationalist Church. these granite markers is cloaked in a sheer, excerpted from the 1800 census record, a For Bearing Witness, the artists present a diaphanous black veil that pays respect to news bulletin for a runaway slave from the selection of the project’s original sixteen these individuals by establishing a figurative Thomas farm, the will and distribution of granite markers that pay tribute to these presence for them and sets up an intimate Judge John Thomas Jr.’s slave property and “colored” members of Center Church. Since relationship with the viewer, who must move its alleged provision that some slaves were little is known about these individuals, the in very close to each sculpture in order to permitted burial within the family plot. Using artists have appropriated language from those make legible the “fictionalized” accounts, a ground-penetrating radar device to search commemorative texts found in the church part imagination and part history, on their for disturbances to indicate the whereabouts that honor its famous white members, such surfaces. of human remains, McCallum and Tarry located the unmarked graves of these named slaves, whose gravesites were both within and beyond the c.1840 walls, stretching into the adjacent field and parking lot. This sculptural memorial can be read as both a catalyst and barrier; as an aperture, the gate represents the possibility of freedom and social inclusion, while as an obstruction, the piece represents the denial of slaves proper recognition and also memorializes the inequality and prejudice that permeated every aspect of this page: Looking For...a slave named, 2003; SUNY Purchase; Purchase, NY; installation view their lives. This piece excavates the memory opposite page: Silence, 2001; Center Church; New Haven, CT; installation view of individuals whose histories were literally buried under the rubble of centuries of racism and social injustice in the U.S.; it began as a search, as an investigation, and serves as a reminder of the northern states longstanding participation in the institution of slavery.

57 MARYLAND ART PLACE Topsy Turvy Whitewash 2006 2006 high definition video with sound oil on linen, toner on silk

Topsy Turvy is a video performance that permanently conjoined. While one of the explores race, marriage, parenthood and artists is upright, and hence visible, the other gender through a tableau vivant inspired by a artist is inverted and remains obscured Victorian-era toy for children. In this video from view by the costume of the other. This shot at the New York Historical Society, duality references binary constructions the artists have attached their own bodies of race and gender as imagined across to a custom-built turning device, thus cultures and over time. The precarious mimicking the structure of a “twinning doll” balance achieved when one of the artists is with a life-size, contemporary version of this revealed and the other disappears mirrors racially charged toy. As the film unfolds, the instability of dominance even when the artists turn round and round, and Tarry’s submission seems apparent. The video’s subtle layered skirts and McCallum’s tailored audio blends together the actual sounds tuxedo flow over and around one another. produced by this unique, sculptural structure These playthings were designed to educate with a recording of dialogue between Topsy Untitled (after World Telegram & Sun, Bullet holes in back of stage where Malcolm X was shot), 2006; from the Whitewash series children through opposites. The doll’s unique and Miss Eva, two characters from Harriet structure— two separate heads connected Beecher Stowe’s 1852 anti-slavery novel by a single torso—typically features Uncle Tom’s Cabin. two characters of different races who are The installation ofWhitewash paintings at processes stems from the concept of MAP brings together four large-scale works ‘whitewashing’ as a strategy for covering that mark the inception of this series and the up or beautifying the truth. Working with artists’ first deployment of their signature images painted on linen and then covered layering of sheer silk over oil paintings. These with a layer of sheer silk with a print of the pivotal works examine the history of race in same image, the artists create paintings with Topsy Turvy, 2006; video still America through the poignant depiction of an almost holographic effect. In this phase of social injustice during the civil rights era. The the series, the artists only partially covered the crime scene photographs of the Audubon painted works with silk, thus both revealing Ballroom following the assassination of and obscuring selections of the overall Malcolm X, which depict an empty space painted surface. This physical layering likewise but for the folding chairs left upturned as a stands as a metaphor for the subjectivity of terrified audience fled, provided the artists memory and conjures an interpretive space with their initial inspiration as they envisioned between the painting and the printed image, a public memorial to the slain civil rights a configuration that shifts according to the leader. In one of the paintings, the artists viewer’s position relative to the painting. The combine two images of the funeral home painted and printed images converge to create where Malcolm X’s body lay on view under an ambiguous spatial dimension in which to the watchful eye of police. The artists’ unique explore the at times incompatible relationship combination of painterly and photographic between historical records and memory.1

1. Please see the analysis of Whitewash under the Contemporary Museum’s entry for further discussion of this series.

59 MARYLAND ART PLACE Within Our Gates 2008 video with sound

Within Our Gates is a three-channel video segregation forever.” Moving forward and that was first projected inside an abandoned backward on the audio axis, this video water tower in Atlanta’s Fourth Ward, just becomes a visual portal between past and blocks away from the birthplace, home present as it commemorates the scores and church of Dr. Martin Luther King, Jr. of individuals that made the Civil Rights Viewers entered this vertical cavern on a Movement a success. The video clips feature deck over a reflective pool, enraptured by the a range of imagery, including dramatic shots sound of a female voice singing a cappella of burning crosses, fervent political speeches spiritual and freedom songs, and enveloped and public rallies. Moreover, the presence of by images in a space illuminated by video the assembled crowds and marching figures projections of a collage of news footage of the in the video is animated by the rousing Civil Rights Movement (and their conjoined cadence asserted by the piece’s soundtrack. mirror images in the water). The second This dynamic, multi-media assemblage soundtrack, located at the entrance of the transports the viewer from the present to the structure, consisted of an interpretive reading site of civil rights protests in a work whose of Governor George Wallace’s 1963 inaugural scale and scope produce not only a sense of speech, during which he notoriously stated, community but also continuity. “segregation now, segregation tomorrow, We who believe

in freedom shall not Within Our Gates, 2008; Irwin Street Water Tower; Atlanta, GA; installation view *opposite page: Bernice Johnson Reagon, “Ella’s Song,” We All...Everyone One of Us. Chicago: Flying Fish Records, 1983. rest until it comes...

until it comes... until it

comes... until it comes...* EXHIBITION CHECKLIST* McCALLUM & TARRY EXHIBITION HIGHLIGHTS

CONTEMPORARY MUSEUM MARYLAND INSTITUTE REGINALD F. LEWIS MUSEUM SELECTED SOLO EXHIBITIONS & PUBLIC INSTALLATIONS COLLEGE OF ART (cont.) Otis: some thoughts on being a separate Sacred to the Memory of…, 2010 2009 Questions of Public and Private Memory – 1968, Tokyo Wonder Site Shibuya, Tokyo, Japan human being, 2004 Endurance, 2003 site-specific installation including: Shades of Black, Galerie Nordine Zidoun, Luxembourg 16 mm film transferred to video with c-prints, video; Bearing Witness The Lynching of Virgil Jones, Robert Jones and 2008 Within Our Gates, Irwin Street Water Tower, Atlanta, GA sound; 3:00 minutes features a selection of the 26 Joseph Riley, July 31, 1908 (after unknown Production: Paul Jarret, Gavin photographic portraits, each 50 x 40 The Dark Is Light Enough, Galerie Nordine Zidoun, , photographer; Allen/Littlefield Collection), Rosenberg, Ben Zimbric; Editorial: in.; video, 1 hour 50:16 minutes Another Country, Kiang Gallery, Atlanta, GA 2007 (from the Whitewash series); Gavin Rosenberg Cinematography and Editorial: Roy oil on linen, toner on silk, 361/2 x 451/2 in. 2007 Now, Tomorrow & Forever, Kinkead Contemporary, Los Angeles, CA Wilson; Public Commission: The Bloodlines, Caren Golden Fine Art, New York, NY Cut, 2006 Lady with Flower (after Lady Sings the Seattle Office of Arts and Cultural high definition video with sound; Blues), 2009 (from the Projection series); 2006 Whitewash, Light Factory, Charlotte, NC Affairs’ Arts Up Program, with PSKS 3:55 minutes oil on linen, toner on silk, 26 x 22 in. Bearing, FUEL House, Philadelphia, PA (Peace for the Streets by Kids from Cinematography: Roy Wilson; the Streets) with funding by the Sacred to the Memory of..., 2010; toner on Cut, Conner Contemporary Art, Washington, DC Editorial: Gavin Rosenberg; Audio: National Endowment for the Arts silk, cross stitching, 180 x 120 in. Whitewash, F-2 Gallery, Beijing, Brian Harnetty Baby grand piano, George Steck 2005 McCallum & Tarry–Endurance, Tokyo Wonder Site and Nichido Contemporary Art, Tokyo, Japan Whitewash series, 2006-2009 Company, New York; 38½ x 58½ x 65 THE WALTERS ART 2004 Endurance, Marvelli Gallery, New York, NY oil on linen, toner on silk; in.; gift of Mrs. Margie B. Warres and Dr. MUSEUM Endurance, City Space Gallery, Seattle, WA dimensions variable Leonard Warres Bearing, 2006 2003 Civic Endurance, Conner Contemporary Art, Washington, DC Bloodlines, 2007 Original sound composition: Imani Uzuri toner on silk, audio; six portraits, 2002 Silence: New Haven, Rush Arts Gallery, New York, NY silkscreen on foil wallpaper with each 54 x in. flocking, dimensions variable MARYLAND ART PLACE 2001 Silence: New Haven, Artspace at Center Church on the Green, New Haven, CT Portraits of and testimony by: Design: Matthew McGuinness Danielle Hughes, Shaquanna Jones Silence, 2001 2000 Witness: Perspectives on Police Violence, The Bronx Museum of the Arts, Bronx, NY and citywide installation, New York, NY engraved granite, silk, audio; Exchange, 2007 and Darnetta Jones, Hakima Mercer, In the Public Realm, Elvehjem Museum of Art, U. Wisconsin-Madison, Madison, WI high definition video with sound; Tymia Myers, Jazmine Stamps, 70 x 18 x 4 in. 1999 Witness: Perspectives on Police Violence, Church of St. John the Divine, New York, NY 3:43 minutes Lakia Taylor Design: Matthew McGuinness;Bearing Cinematography, editorial: Gavin Commission: The City of Witness includes a selection of the 16 Rosenberg; Audio: Brian Harnetty Philadelphia Mural Arts Program; granite and silk sculptures Projection series, 2009-2010 Funding: Mid-Atlantic Arts Public commission: Artspace with Center SELECTED GROUP EXHIBITIONS Foundation, Ford Foundation and oil on linen, toner on silk; Church on the Green, New Haven, CT 2010 Beyond/In Western NY, Albright Knox Art Gallery, Buffalo, NY City of Philadelphia, Department of dimensions variable Looking For: a slave named..., 2003 Human Services. One on One, SITE Santa Fe, Santa Fe, NM anodized aluminum sculpture, Embracing Ambiguities, California State University, Fullerton, CA Evenly Yoked, 2010 photograph; 116 x 56 in. From Then To Now, MOCA , Cleveland, OH high definition video with sound CARROLL MANSION Design: Matthew McGuinness 2009 Beyond Appearances, Lehman College Art Gallery, CUNY, Bronx, NY Director: David Schweizer; The Evidence of Things Not Seen, 2008 Public commission: Neuberger Museum, Cinematography, editorial: Gavin Post Memory, EFA Gallery, New York, NY oil on linen, toner on silk, audio; 104 2003 Biennial Exhibition of Public Art Rosenberg; Production: Ben 2008 Prospect.1 New Orleans, LA paintings, dimensions variable Zimbric, Caleb Wertenbaker, Jacob Topsy Turvy, 2006 The Other Mainstream II, Arizona State University Art Museum, Tempe, AZ Audio: Imani Uzuri, John Boutte A. Climer; Crew: Alexandr Skarlinski high definition video with sound; Taking Shelter, Canazi Gallery, Columbus College of Art & Design, Columbus, OH and EDS students; Original sound and Bradley McCallum 14:33 minutes 2007 Finding Form, Atlanta Contemporary Art Center, Atlanta, GA composition: Imani Uzuri; Special Cinematography and editorial: Gavin Cinema Remixed and Reloaded: Black and the Moving Image Since 1970, Spelman College thanks to: The Engineers Club PHOENIX SHOT TOWER Rosenberg; Audio: Brian Harnetty; Audio: Bill “Bojangles” Robinson in Costumes: Daapo Reo Museum of Fine Art, Atlanta, GA Harlem is Heavan (1932) The Manhole Cover Project: A Gun Legacy, John Q. Public & Citizen Jane: Private Americans in the Political Domain, University Art Gallery, 1996 Whitewash series, 2006 oil on linen, toner on silk; dimensions San Diego State University, San Diego, CA MARYLAND INSTITUTE cast iron manhole covers from variable confiscated firearms, testimony; 2006 Civic Performance, Stony Brook University Art Gallery, SUNY, Stony Brook, NY COLLEGE OF ART Within Our Gates, 2008 22¾ in. diameter; 228 pieces Legacies: Contemporary Artists Reflect on Slavery, New York Historical Society, New York, NY Witness, 1999-2000 (selection shown in Bearing Witness) three-channel video projection, audio 2005 Convergence, International Contemporary Art Exhibition, Beijing, China cast aluminum, photography, audio Commissioned by the Wadsworth 10:39 minutes Noorderlicht Photofestival, Groningen, Netherlands 5 altered emergency call boxes Atheneum and the Childhood Editor & Sound: Gavin Rosenberg 2004 Ralph Bunche: An American Legend, Queens Museum of Art, New York, NY 86 x 20 x 20 in. Injury Prevention Center Assistant Editor: James Benyshek;Vocal It’s About Memory, Rhona Hoffman Gallery, Chicago, IL Public Partnerships: The Bronx Youth audio interns: Chevoughn arrangement/performance: Imani Uzuri; Museum of the Arts, Parents Against Augustin, Nashia Baskerville, Voice: William Amory; Film Research: 2003 Biennial of Public Art, Neuberger Museum of Art, Purchase College, SUNY, Purchase, NY Aggie Ebrahimi; Archive: Walter J. Brown Police Brutality, 100 Blacks in Myrton Bewry, Josue Evilla, David 2002 MediaCity, Artists Commune Gallery, Hong Kong, China Law Enforcement Who Care, The Robles Media Archives, University of Georgia; Design coordination: Perkins + Will 2001 In Cold Blood, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Anthony Baez Foundation and The Bradley McCallum with support Art at the Edge of the Law, Aldrich Museum of Contemporary Art, Ridgefield, CT New York Civil Liberties Union from Jacqueline Tarry with funding from The Andy Warhol 2000 Black and Blue, Zilkha Gallery, Wesleyan University, Wesleyan, CT Foundation for the , The Foundation, The New York State Council for the Arts and the Ford Foundation

* The complete exhibition checklist forBearing Witness is available at http://www.ultima.mica.edu/mccallumtarry/bw/artists/catalog/checklist.

62 EXHIBITION CHECKLIST 63 EXHIBITION HIGHLIGHTS ACKNOWLEDGEMENTS EXHIBITION DEVELOPMENT SEMINAR 2009-2010

We would like to first acknowledge and thank Irene Hofmann for her continuous leadership and guidance throughout COURSE INSTRUCTOR EDUCATION SITE RESEARCH & EXHIBITION DESIGN this process. In addition, we extend a generous thank you to our instructor, Jennie Hirsh, for her dedication to Jennie Hirsh Phylicia Ghee ‘10 this project and our success. Thank you to our team mentors, Emily Blumenthal (Education), Daniel D’Oca (Site Asst. Professor, Art History, L H Griffin ‘11 Paul Capetola ‘10 Research/Exhibition Design), Gerry Greaney (Graphic Design), Amy Peterson (Writing) and Sandy Triolo (Web/ Theory & Criticism, MICA Emily Hines ‘10 Joanna Kopczyk ‘11 Communications) for their professional support. Lauren Trautvetter ‘11 Anton Merbaum ‘10 COURSE MENTORS For the past several months, the directors, curators and staff of our host venues worked diligently with us in realizing this Mentor: Emily Blumenthal Julie Ransdell ‘11 endeavor. These individuals include Christina Batipps, Dawn Bennett, Cathy Byrd, Jacqueline Copeland, Betsy Dahl, George Ciscle Manager of Family Programs, Mentor: Daniel D’Oca Jessica D’Argenio, Paula Hankins, Robert Haywood, Matthew Hood, Mirma Johnson, Steve Krach, Amy Mannarino, Director of Curatorial Studies The Walters Art Museum Asst. Professor, Art History, Kate Markert, Mike McKee, Deborah Nobles-McDaniel, Asa Osborne, Joan Elisabeth Reid, Johaniris Rivera Rodriguez, Concentration, Curator-in-Residence, Theory & Criticism, MICA Gerald Ross, Alexandr Skarlinski, Anne South, Terry Taylor, Susan Wallace, Michelle Joan Wilkinson, Cherrie Woods, MICA GRAPHIC DESIGN WEB & Lara Yoder, Robert Zimmerman and Nancy Zinn. Amy Peterson Mimi Cheng ‘11 COMMUNICATIONS Lindsey Anderson, Whitney Frazier, Michelle Hagewood, Ken Krafcheck, Fletcher Mackey, Susan Hayman Malone, Creative writing faculty, Language, Sara Kong ‘10 Literature & Culture, MICA Sarah McCann, Ashley Minner, Paula Phillips and Melissa Ruof—community arts professionals from various Carla Marie Padvoiskis ‘12 Marika Garcia ‘10 organizations in Baltimore, including faculty and alumni of MICA’s Master of Arts in Community Arts (MACA) CURATORIAL Mentor: Gerry Greaney Madeline Peters ‘11 program—provided critical feedback during the planning phases of this show. Principal, Greaney Design Mentor: Sandy Triolo Beth Brown ‘11 Lorri Angelloz, Andrea Cohen, Cedric Mobley, Greg Rago, Michael Walley-Rund, Jessica Weglein and Christy Wolfe, as Artist, Collaborator, Digital Media Michelle Gomez ‘12 well as Mike Fila of Himmelrich PR, provided cheerful editorial support and skilled production assistance with our press, PROJECT MANAGEMENT Consultant Christina Joseph ‘12 print and Web materials. Ellice Park ‘11 Samantha Gainsburg ‘10 Bradley McCallum and Jacqueline Tarry patiently shared this experience with all of us; they helped us understand the Caitlin Richeson ‘12 Joanna White MFA ‘10 practice of established artists, trusted us to curate their most important exhibition to date and invited us to participate in Mentor: Irene Hofmann Mentor: Jennie Hirsh filming their most recent performance video. As aspiring artists and curators, we found this close contact as well as their Asst. Professor, Art History, Executive Director and Curator, Theory & Criticism, MICA constant feedback to be invaluable. Contemporary Museum Finally, we extend a special thank you to our class mentor George Ciscle not only for his encouragement and generosity, but also for selecting EDS as his contribution to Project 20. Bearing Witness is made possible partially through generous support from the Friends of the Exhibition Development Seminar, the National Endowment for the Arts and the William G. Baker, Jr. Memorial Fund.

- Exhibition Development Seminar 2009-2010 Bearing Witness: Work by Bradley McCallum & Jacqueline Tarry was co-curated by Irene Hofmann of the Contemporary Museum and the students enrolled in the 2009-2010 Exhibition Development Seminar at the Maryland Institute College of Art. This catalogue was edited by Jennie Hirsh. contemporarymuseum Photographs of Projection and Whitewash © Jeff Sturges. Cover image: John Lewis and Hosea Williams, Atlanta, Georgia, 1965 (after unknown photographer; United Press International telephoto, New York World-Telegram and the Sun Newspaper Photograph Collection, Library of Congress), OUR PARTNERS 2008; from the Whitewash series, oil on linen, toner on silk.

THANK YOU