BRADLEY MCCALLUM JACQUELINE TARRY

Born in Green Bay, Wisconsin, 1966. Born in Buffalo, NY, 1963. Lives and works in New York Lives and works in New York

EDUCATION:

1992 Sculpture 1986 State University College at Buffalo, School of Art, BA, Philosophy New Haven, CT 1989 BFA, Sculpture, Virginia Commonwealth 2003 Whitney Independent Study University, Richmond, VA Program, New York, NY

SOLO EXHIBTIONS AND PUBLIC INSTALLATIONS:

McCallum & Tarry 2007 McCallum & Tarry, Kinkead Contemporary, Los Angeles, CA McCallum & Tarry, Caren Golden Fine Art, New York, NY Whitewash & Cut, Lisa Dent Gallery, San Franscico, CA

2006 Whitewash, Light Factory, Charlotte, NC Bearing, F.U.E.L., Philadelphia, PA Miscengenation Portaits, Conjunction Arts, Inc., McCall Center Mother and Child: Father and Child, Philadelphia Mural Arts, Philadelphia, Pennsylvania Derry/London Derry, North 55 and the Playhouse Theater Topsy Turvy, New York Historical Society, New York City, NY Cut, Conner Contemporary Art. Washington, DC. Endurance, Studium Generale, Technische Unifersiteit Eindhoven, The Netherlands Whit wash, F-2 Gallery, Beijing, China

2005 Endurance, Aljira, a Center for Contemporary Art, Newark, NJ. Endurance, Nichido Contemporary Art, Tokyo, Japan. Endurance, Tokyo Wonder Site, Tokyo, Japan.

2004 Otis, Conner Contemporary Art, Washington, DC. Endurance, City Space Gallery, Seattle, Washington. Civic Endurance, Marvelli Gallery, New York.

2003 Civic Endurance, Conner Contemporary Art, Washington, DC.

2002 Silence: New Haven, Rush Arts Gallery, New York, NY. 2001 Silence: New Haven, Artspace at Center Church on the Green, New Haven, CT.

2000 Witness: Call Boxes Citywide Installation, ConjunctionArts, New York, NY. Witness: Perspectives on Police Violence, The Bronx Museum of the Arts, Bronx, NY, and citywide installation, New York, NY.

The Madison Project, Madison Public High Schools, Madison, WI. In the Public Realm: Installations, Witness Elvehjem Museum of Art, University of Wisconsin Madison, Madison, WI.

1999 Witness: Perspectives on Police Violence Documents: Public Projects by Bradley McCallum. Cathedral Church of St. John the Divine, New York, NY. Witness: Institute on Arts and Civic Dialogue Preview, Kings Chapel, Boston, MA.

McCallum 2001-03 Madison Project: Path of Voices, Five permanent installations, Madison Public High Schools, Madison, WI

1998 Permanence of Memory, ICA at the Maine College of Art, Portland, ME. History Table: Gorhams Corner , Percent-for-Art Program, Portland ME.

1996-97 The Manhole Cover Project: A Gun Legacy, , Hartford CT.

1996 Transcending Silence: The Tubs Project, Albion College, Victory Park, Albion MI. Surviving Memories, Swords Into Plowshares Peace Center and Gallery, Detroit MI.

1995-96 The Permanence of Memory Maine Veterans and Civilians Remember WWII, Battery 201, Two Lights State Park, Cape Elizabeth, ME.

1994 Shroud: Mother’s Voices, A Memorial for Victims of Gun Violence in New Haven, CT, Coalition to Stop Gun Violence Conference, Washington, DC. Testimonies, Screening, Boston Film and Video Foundation, Boston, MA.

1993 Aiding Awareness: Women’s Stories , ARTSPACE Gallery, New Haven, CT, a collaboration with Class Action: The Art Collective For Community Action. Multi Media Installation , Virginia Polytechnical Institute, Blacksburg, VA.

1992 Shroud: Mother’s Voices A Memorial for Victims of Gun Violence in New Haven, CT, Maloney Correctional Institute, Sight Specific Installation, Cheshire, CT. Connecticut College Chapel, Sight Specific Installation, New London, CT, September.City Hall, Sight Specific Installation, New Haven, CT. MFA Thesis Show, Yale Art + Architecture Gallery, New Haven, CT.

1990 Outdoor Installation of Homeless Shelters, Yale University, New Haven, CT.

1989 Park Bench Shelter, Outdoor Installation, New Haven, CT.

1988-89 Homeless Carts, 11 collaboratively designed vehicles given and used by street people to collect aluminum cans and other recyclables, Richmond, VA.

GROUP EXHIBITIONS:

McCallum & Tarry 2007 Finding Form, Atlanta Contemporary Art Center, Atlanta, GA Cinema Remixed and Reloaded: Black Women Artists and Moving Image Since 1970, Spellman College Museum of Fine Art, Atlanta, GA A Spectral Image of Self, Newcomb Art Gallery, Tulane University, New Orleans, LA

Taking Possession, The University of Arkansas at Little Rock Galleries, Little Rock, AR What Kind of Portrait? Curator: Simon Watson, Marc Selwyn Fine Arts, Los Angeles, CA Street Scenes. Curator: Welmoed Laanstra and Nora Halpern, The National Portrait Gallery, Washington, DC. Transformer, Curator: Amy Moorefield, VCUarts Anderson Gallery, Richmond, VA Critical Translations, Nash Gallery of Art, University of Minnesota, Minneapolis, MN

2006 Legacies: Contemporary Artists Reflect on Slavery, New York Historical Society, June. 25 Bold Moves, Curator Simon Watson, House of Campari, New York, NY

2005 A Knock at the Door, Lower Manhattan Cultural Council, New York, NY Crossing Waters and Boarders Down Memory Lane, Cork, Ireland Convergence, International Contemporary Art Exhibition, Beijing, China Noorderlicht Photofestival, Groningen, Netherlands The Staged Body, Curator’s Office, Washington, DC

2004 Whitney Museum of Arts Studio Loft, New York. It’s about Memory. Rhona Hoffman Gallery, New York. Ralph Bunche: An American Legend, Curator: Franklin Sermons, Queens Museum of Art, New York, NY. Collector's Cabinet: for Marsha, Marc Selwyn Fine Art @ Domestic.

2003 The Outlaw Series, New York, NY. Confrontation or Commentary: The Role of Political Art in Society, Nathan Cummings Foundation, New York, NY. 2003 Biennial Exhibition of Public Art, Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY.

2002 Media City, Artists Commune Gallery, Hong Kong, China. Strike, Wolverhampton Art Gallery, Wolverhampton, England. Art & Outrage, Rober Miller Gallery, New York, NY.

2001 In Cold Blood, Samuel Dorsky Museum of Art, State University of New York at New Paltz, New Paltz, NY. Art at the Edge of the Saw, Aldrich Museum of Contemporary Art, Ridgefield, CT. Collaborative Art Projects 2000, The Bronx Museum of the Arts, Bronx, NY.

2000 Black and Blue, Zilkha Gallery, Wesleyan University, Wesleyan CT. Group Show, MoCADA Museum, , NY.

1999 Mumia 911, Refuse and Resist, New York, NY.

McCallum 2005 Disputed Territories, City Without Walls, Newark, NJ

2002-03 The Culture of Violence, University Gallery at the University of Massachusetts, Amherst, MA; Bowdoin College of Museum of Art, Brunswick, ME; Samuel P. Harn Museum of Art, Gainesville, FL

2000 Concerted Compassionism , White Columns, New York, NY. Onced Removed , Socrates Sculpture Park, Long Island City, NY.

1998 Inspired Fear, Erector Square Gallery, New Haven, CT.

1997 Memory and Mourning: Shared Cultural Experience, University Art Museum University at Albany, Albany, NY. Surviving Memories Site Installation, The Heidleburg Project, Detroit MI.

1996 Incestuous, Thread Waxing Space, New York, NY. In Our Sights: Artist Look at Guns, Sight Specific Installation of Shroud: Mothers Voices. UCR California Museum of Photography, Riverside CA.

1995 Crime and Punishment, Philadelphia Art Alliance, Philadelphia, PA. Arresting Images, Gallery 400 at the University of Illinois at Chicago. Reinventing the Emblem, Yale Art Gallery, New Haven, CT. Strokes of Genius: Mini Golf by Artist, DeCordova Museum, Lincon, MA a collaboration with Dawoud Bey.

1994 Multiple Choice, Gates of Heck Editions, New York, NY. Percent for Art Finalist Exhibition, Baxter Gallery, Maine College of Art, Portland ME a collaboration with Marta Huszar.

1993 Small Works, ARTSPACE Gallery, New Haven, CT. Art and Ethics, Sawtooth Center for Art, Winston Salem, NC. Re-enchanting Art , Multi Media Installation, Cardinal Gallery, Annapolis, MD.

1991 Toys Are U. S., Key Gallery, Richmond, VA.

1989 Coastal Exchange II, Traveling Juried Exhibition, Anderson Gallery, Richmond, VA, , Baltimore MD & Nexus Art Center, Atlanta, GA. Tarry 2004 Independent Study Program Studio Program Exhibition, Whitney Museum of American Art, New York, NY

PUBLIC PROJECTS/COLLABORATIVE PARTNERS + MAJOR GRANTS:

McCallum and Tarry Civic Endurance, Seattle, WA 2003-05 In partnership with Peace on the Streets by Kids from the Streets, Seattle, WA and commissioned by the Seattle Office of Arts and Cultural Affairs, Arts Up Program. Additional funding by the National Seattle Office of Arts and Cultural Affairs, Arts Up Program. Additional funding by the National Endowment for the Arts, Seattle Department of neighborhoods, and the Fales Foundation.

Silence: New Haven, New Haven, CT (2001-02) Presented by Artspace and Center Church on the Green, New Haven, CT. Produced by ConjunctionArts. Funded by the Lustman Memorial Fund, The Gunk Foundation, Trumball College Fine Art Program and the Connecticut Humanities Council. Presented in New York by the Rush Arts Gallery, a program of Rush Philanthropic Arts Foundation. Funded by the New York State Council on the Arts and the Greenwall Foundation.

Witness: Perspectives on Police Violence, New York, NY, (1998-00). Sponsored by: ConjunctionArts in partnership with; The Center for Constitutional Rights; 100 Blacks in Law Enforcement Who Care; Parents Against ; The National Action Network; and The National Congress for Puerto Rican Rights; and The New York Civil Liberties Union. Funded by: The New York State Council

on the Arts; The Institute on Arts and Civic Dialogue; The Jerome Foundation, The Gunk Foundation, The Lower Manhattan Cultural Council; The Deboral Foundation; and the Andy Warhol Foundation for the .

McCallum The Madison Project, Madison, WI, (1999-00) Sponsored by: The Madison Metropolitan School District; the YWCA, and Parents of Murdered Children. Funded by: The National Endowment for the Arts, Pleasant Company Fund for Children, Madison CityARTS Commision, the Evjue Foundation, the Wisconsin Arts Board, and individual donors.

The Manhole Cover Project: A Gun Legacy, Hartford CT, ( 1995-97) Sponsored by: the CT Childhood Injury Prevention Center; the Wadsworth Atheneum; with support from the City of Hartford, Mayor’s Office and ConjunctionArts. Funded by: the Connecticut Commission on the Arts-New Arts Partnerships; The Greater Hartford Arts Council; the New England Foundation for the Arts; Hartford Hospital; the Colt Foundation and Kaiser Permanente.

Surviving Memories: Dedicated to Homicide Victims, Detroit MI, (1994-98) Sponsored by Save Our Sons and Daughters (SOSAD) and the City of Detroit. Funded by: the Michigan Council for Art and Cultural Affairs; the Detroit Arts, Council; The Detroit Arts Foundation; and the John Michael Kohler Arts Center.

Permanence of Memory: Maine Veterans and Civilians Remember WWII, Cape Elizabeth ME, ( 1994-96) Sponsored by: CojunctionArts with, Two Lights State Park and the American Legion. Funded by: the National Endowment for the Arts; the Maine Humanities Council; the Maine Arts Commission; the Maine Community Foundation; the Davis Family Foundation; and the Shipman Foundation

Shroud: Mother s Voices: A Memorial for Victims of Gun Violence in New Haven, CT, ( 1992-93) Sponsored by ConjunctionArt with, exhibition venues at the Yale Art & Architecture Gallery, New Haven, CT, New Haven City Hall, New Haven, CT, Connecticut College Chapel, New London, CT and the Maloney Correctional Institute, Cheshire, CT. Funded by the Seymour L. Lustman Memorial Fund and the Dwight Hall Center for Public Service and Social Justice. Funded by: the Seymour Lustmand Fund; and Dwight Hall Community Grants.

AWARDS + RESIDENCES:

2006 Mural Arts, Philadelphia PA, Artists Residency, May/June McColl Center, Artists Residency, September/November. 2005 Lambent Fellowship recipients Headlands Center For the Arts, Bridge Residency 2003 Arts Up Program, Seattle Office of Arts and Cultural Affairs, Seattle, WA 2002 Red Gate Gallery, Beijing, China, Ford Foundation International Fellowship 1990-0 Madison Metropolitian School District, Artist-in-Residence 1999 Institute on Arts and Civic Dialogue at Harvard University, Artist/Fellow 1998-99 New York Civil Liberties Union, Artist-in-Residence 1996 Albion College, Artist-in-Residence 1995 Arts/ Industry Residency, a Program of the John Michael Kohler Arts Center AIGA, Maximum Message Minimum Means, Environment Design Aiding Awareness: Women’s Stories, collaboration with Class Action, New Haven, CT

1994 Industrial Design Magazine Best of Category Award for Environment Design Aiding Awareness: Women s Stories, shares award with US Holocaust Museum 1993 Boston Film and Video Foundation, Fellowship Yale University, New Haven Teachers Institute Fellow New England Foundation for the Arts, Vermont Studio Center Residency, Award 1989 1989 Phi Kappa Phi Undergraduate Fellowship 1983 Vermont Studio Center Residency, Johnson, VT

TEACHING:

McCallum + Tarry 2000–Present Adjunct Professor of Arts and Cultural Management, Pratt Institute, New York, NY Management of Arts Education, Introduction to Arts Management & Cultural Institutions McCallum 1996 Visiting Assistant Professor of Art, San Francisco Art Institute, San Francisco, CA Public Art: Memory, Activism, and Action 1994 Adjunct Professor of Art, University of Southern Maine, Portland, ME Interdisciplinary Design, Introduction to Conceptual Art Maine College of Art, Portland Maine, Pre-College Faculty 1992–94 Adjunct Professor of Art, Southern Connecticut State University, New Haven CT Two and Three Dimensional Design, Computer Art

1992 Teaching Assistant, Yale School of Art, New Haven, CT Sculptural Figure Studies

SYMPOSIUM/CONFERENCES:

McCallum + Tarry 2006 Visiting Artists, NYU Photography, New York, NY Visiting Artists, The Museum School, Boston, MA Endurance, National Youth Network, Washington, DC 2005 Visiting Artists, Princeton University, Princeton NJ Visiting Artists, London-Derry, North-Ireland Workshop, Cork, Ireland Initial Public Offering, Whitney Museum of Art, New York, NY 2003 College Art Association Conference, Seattle, WA, Panel Organizer Activating Critical Discourse: Models of Civic Engagement and Public Arts Practice 2002 International Women Artists’ Conference, W.E.R.I.S.E., Barnard College, New York, NY Collaborative Art Practices 2001 Tisch School of the Arts, New York University, New York, NY A Reflection on the Institute on Arts and Civic Dialogue: Artists Respond to 9/11 Bronx Museum of the Arts, Bronx, NY, Collaborative Art Practice

McCallum

2001 Arts Now Conference, State University of New York at New Paltz, New Paltz, NY, Panel Organizer Artists: Interventions and Collaborations on Sites of Violence, Keynote panel 1995 Portland Museum of Art, Portland, ME, Symposium Organizer, Public Art: Memory and Activism

GUEST LECTURES:

McCallum + Tarry 2001 Occidental College, Los Angeles, CA, Testimony/Urban Ethnography Yale University, New Haven, CT, Silence: New Haven 1997 New England Artists Trust Congress, Newport, NH, For Who’s Community? McCallum 2002 Iowa Teacher Convention, Decora, IA, Keynote Lecture, The Madison Project: A Case Study Wisconsin Teachers Convention, Madison, WI, Keynote Lecture, The Madison Project: A Case Study 2000 Elvehjem Museum of Art, Madison, WI, In the Public Realm National Association of Artist Organizations Conference, Brooklyn, NY Public Art/Collaborative Partnerships 1997 University of Minnesota, Minneapolis, MN, The Manhole Cover Project: A Gun Legacy Augsburg College, Minneapolis, MN, Deadly Consequences: Stopping Youth Violence Southeastern College Art Conference, Richmond, VA, The Manhole Cover Project: A Gun Legacy Suffield Academy, Suffield, CT, The Manhole Cover Project: A Gun Legacy University of Connecticut, Storres, CT, Under the Manhole Covers Virginia Polytechnic Institute and University, Blacksburg, VA, Public Art 1996 Wadsworth Atheneum, Hartford, CT, The Manhole Cover Project: A Gun Legacy San Francisco Art Institute, San Francisco, CA, Visiting Artist Lecture 1995 Albion College, Albion, MI, Visiting Artist Lecture 1994 Maine College of Art, Portland, ME, Visiting Artist Lecture 1994 Sawtooth Center for Visual Art, Winston-Salem, NC, Visiting Artist Lecture 1993 Children’s Defense Fund, Anti-Violence Network, Washington, DC, Shroud: Mother’s Voices Virginia Polytechnic Institute and University, Blacksburg, VA, Collaboration 1992 Connecticut College, New London, CT, Shroud: Mother’s Voices 1990 Virginia Polytechnic Institute and University, Blacksburg, VA, Collaboration

BIBLIOGRAPHY:

Arnott, Christopher. The Sounds of Survival , The New Haven Advocate, April 23, 1992. Aehl, John. “Out of Violence, Art“, Wisconsin State Journal, April 30, 2000, F1-5. The Aesthetic of Collaboration, New England Artist Trust Vol. 4, 1994. Barnett, Erin. “New Museum Curator’s Picks” newmuseum.org, December 2003 Beach, Randall, “ Sins of the Past,” New Haven Register, 9 September 2001: B1 Beach, Randall. “The Mother, Sister and Grandmother the Headlines Forgot”, New York Times, Sunday, June 21, 1992, Front Page, Connecticut Weekly. Bessire, Mark H. C., Museum as Site, Catalogue Essay, ICA at the Maine College of Art, August 1998. Birke, Judy, “ Pain and Provocation in ‘Black and Blue’” New Haven Register, 12 Nov. 2001:D1, D6

Birke, Judy, “Fears exposed, examined in inspired exhibit”, New Haven Register, September 13, 1998: G2 Birke, Judy, “Artspace’s Aiding Awareness”, New Haven Register, Sunday October 31, 1993. Bloomer, Kent, The Making of Memorials , Catalogue Essay, ICA at the Maine College of Art, August 1998. Brickman, Paul. “Envisioning a World Without Brutality,” Wisconsin State Journal, January 19, 1999, Front Page. Brockington, Horace. “Intentional Distance.” NY Arts Magazine. Jan. Feb. 2005: 71. Cameron, Dan. “The one Who Sees In the Public Realm”, Catalogue Essay, Elvehjem Museum of Art, May, 2000. Cotter, Holland. “At Historical Society, Emancipation Remains a Work in Progress,” . June 20, 2006. Cotter, Holland. “Posing, Speaking, Revealing,” The New York Times, August 24, 2005. Condon, Tom. “Guns-to-Covers A Great Idea”, The Hartford Courant, September 1, 1996: Sec. B page 1 Dawson, Jessica “ Still Life With Street Corner and Homeless Kids” Washington Post, 6 November 2003: C5 Demos, T.J., “Bradley McCallum & Jacqueline Tarry, Conner Contemporary Art” Art Forum, Feb 2004: 154 Dewan, Shaila K. “Police Brutality Revisted, But Not on Federal Ground,” New York Times, 3 Oct. 2000, late final ed.: B6 Dixon, Glenn, “ Children of No Standing,” Washington Post Express, 16 October 2003: N3 Dixon, Glenn. “Mommy Talk.” Washington Post Express. November, 4, 2004. Ebony, David, “Febs Spurn Police Brutality Art,” Art in America, Feb, 2001 Ebony, David. “NYCLU Hires Artist-in-Residence”, Art in America, April, 1999, Front Page. Ebony, David, “Swords Into Plowshares”, Art in America, January 1997, Front Page. Eiseman, Alberta. “Sam, Elizabeth and the Victims of Guns”, The New York Times, Sunday, January 12, 1997, cn23. Environments Best of Category, I. D. Annual Design Review, June 1994, 109-112 Firestone, David. “Artist Gives Form to Free Speech”, The New York Times, November 17, 1998, Public Lives-Metro Section. Gablik, Suzi. The Re-Enchantment of Art, New York: Thames and Hudson, 1991. Gablik, Suzi. Toward an Ecological Self , New Art Examiner, January 1991, Vol. 18, No. 5. Gates, Catherine. Heck Editions 1994, First Edition, Richmond, VA Gates of Heck, 1994. Gardner, R. “NYCLU Arts Initiative to Address Police Brutality”, The New York Observer, February 22, 1999. Gedeon, Lucinda H. Ph. D, ed. “Neuberger Museum of Art 2003 Biennal Exhibition of Public Art.” Campus of Purchase. State University of NY. June 22 – Oct. 19 2003 Genocchio, Benjamin. “Hotel Rooms Set the Scene, and 45 Artists Star,” The New York Times, August 5, 2007. Genocchio, Benjamin. “Trapped in Nether-Nether Land,” New York Times, NJ- Arts, 7 August 2005. Gopnik, Blake. “ Here and Now” Washington Post, 19 Oct. 2003: N3 Hanley, Christine. “Guns to Manhole Covers”, Associated Press, October 18, 1996, front page w/ photo. Article was printed internationaly, in over 300 newspapers and journals. Hertz, Richard. Theories of Contemporary Art, Second Edition, Englewood, NJ Prentice Hall, 1993. Hoffman, Hank, “Inspired Fear”, The New Haven Advocate, September 17, 1998. Honigman, Ana Finel. “Public and Private Investigation: A Conversation with Bradley McCallum and Jacqueline Tarry,” Sculpture, Vol. 21,no. 7 : 64-69 Huzar, Marta, designer. “Permanence of Memory: Maine Veterans and Civilians Remember WWII” exhibition catalog. Museum Installation Institute of Contemporary Art. Maine College of Art. August 8 –Sept. 25 1998 ”In the Public Realm, Installations by Bradley McCallum.” Exhibition catalog. Evehjem Museum of Art. University of Wisconsin - Madison. May 6 –July 30, 2000. Jacobson, Louis “Civic Endurance,” Washington City Paper, 7-13 November 2003 Keedle, Jane. “A Legacy of Violence”, The Hartford Advocate, October 17, 1996, 17. Koenig, Janet. “Evidence of Blue”, Afterimage, March/April 2000, 12. Lee, Felicia R. “The Influence of Slavery, Through Contemporary Art,” The New York Times. June 13, 2006. Lewis, Keisha. “ Silent Witnessing: Questioning Sacred Spaces,” NKA: Journal of Contemporary African Art, Spring/Summer 2003, no. 18: 96-97 Lippard, Lucy, The Consequences of Memory, Catalogue Essay, ICA at the Maine College of Art, August 1998. Lippard, Lucy. “The Lure of the Local”, New York, The New Press, 1997: 282.

Lynch, Kevin. “Melted guns, ghostly silk yield wrenching art” The Capital Times, May 24, 2000, C1. Martin, Courtney J, “ Civil Servants,” One World, Vol. 7, no.3: 110-112. Murphy, Chriss. “Guns Into Art”, The Capital Times, January 18, 1999, Front Page. Nacelewicz, Tess. “ World War II exhibit stir visitor’s memories.” Portland Press Herald. August 15 1995 Nacelewicz, Tess. “ Exhibit turns Two Lights Battery into Living Memorial of WWII” Portland Press. August 7, 1995 O’Sullivan, Michael “ McCallum, Tarry Take a Stand,” Washington Post, 24 October 2003: WE50 Pelton, Joanne M. “Artwork Revisits Yale Tragedy”, New Haven Register, January 22, 1995: A3. Phillips, Patricia. “Bradley McCallum, Cathedral Church of St John the Divine”, Sculpture, June 2000, 71-72. Phillips , Patricia, “Bradley McCallum”, Sculpture, ( May - June 1997), 62-64. Phinney, Molly. “Hearing AIDS”, The New Haven Advocate, October 21, 1993. Potterf, Tina. “ Multimedia Exhibit Provides a Window into the Lives of Seattle’s Homeless Youths.” The Seattle Times. Feb 17 2004 Proctor, Roy. “VCU Gallery Transformed,” Richmond Times-Dispatch. June 24, 2007: G12. Reynolds, Brandon. “Hero With a Thousand Sweaters,” Style Weekly. June 20, 2007: 34. Rondeau, James. “ The Manhole Cover Project” exhibition catalog. Wadsworth Atheneum. 20 Oct. 1996-9 March 1997. Rondeau, James. “The Manhole Cover Project: A Gun Legacy”, Catalogue Essay, Wadsworth Atheneum, October 1996. Sirmans, Franklin. “The Spirit of Endurance,” In Civic Endurance, exh.cat., Conner Contemporary Art, Washington, DC, 2003 Sirmans, Franklin. “ Bradley McCallum and Jacqueline Tarry, “Silence” Time Out New York, 2-9 May 2002, no. 344. Stowe, Stacy, “Congregation Thinks Twice about a Depiction of a Segregated Past,” New York Times, 3 DEC. 2001: F1 Schaernack, Christian, “Guiliani Meint es Ernst,” Art Das Kunstmagazin, Nr. 6, 2001 Sorkin, Jenni, “Bradley McCallum and Jacqueline Tarry,” Frieze, Jan-Feb 2001: 109-110 Scime, Erin M. “McCallum and Tarry at Marvelli Gallery.” NY Arts Magazine. Mar. April 2005. Smith, Roberta. “Stretching Definitions of Outdoor Sculpture”, The New York Times, July 28, 2000. E27-29 Tyree, Joshua. “After the Violence, Art”, Isthmus, June 16, 2000, 22. Wennerstrom, Nord. “Bradley McCallum and Jacqueline Tarry: Conner Contemporary Art,” ArtForum, October 2006. Wolin, Joseph R. “Legacies: Contemporary Artists Look at Slavery,” Time Out New York, 6-12 July 2006. Yablonsky, Linda. “Hotel Rooms Become Overnight Stars,”, The New York Times, July 8, 2007. Zimmer, William. Photographers Capture Reality, New York Times , Sunday December 8, 1991, 24CN 4.

PUBLICATIONS:

“Whitewash”, published by Timezone 8 “Full of Grace: A Journey Through the History of Childhood,” by Ray Merritt, Jan 2007 “Civic Endurance” Issue Magazine. Fall 2003, no. 7: 14-29, cover photo “Silence” Art Journal, spring 2003, Vol. 62, no. 1: 82-95 “Bearing Witness” in Zero Tolerance: Quality of Life and the New York Police Brutality in New York City, Andrea McArdle and Tanya Erzen, eds, New York: NYU P.,2001: 271-281