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Bradley McCallum (b. 1966) is a conceptual artist and social activist. He is best known for his large-scale, site-specific installations addressing social issues in collaboration with artist Jacqueline Tarry, with whom he has worked since 1999 in the partnership known as McCallum+Tarry. He is the Founding Director of Conjunction Arts, a Brooklyn-based nonprofit that supports artists through residency connections and fiscal sponsorship. From March, 2014 to March, 2015 he worked as the first Artist-in-Residence at the Coalition for the International Criminal Court. He works from his studio in Fort Greene, Brooklyn.

Education and Early Life
McCallum was born and grew up in Green Bay, Wisconsin. He earned a Bachelor of Fine Arts at Virginia Commonwealth University in 1989 and a Master of Fine Arts at Yale University in 1992.

Work
Since 1989, McCallum has focused his practice on creating site-specific art projects that examine injustice, tell the stories of the marginalized, and offer alternatives to mainstream accounts of social issues. His work incorporates painting, photography, video, audio, performative sculpture, and handcrafts such as smelting and casting. He is best known for large-scale public installations that use symbolic photographs, landmarks, and objects to evoke discussion about the complexities of social issues.

Weights and Measures
McCallum is currently developing a body of portraiture examining international trials titled Weights and Measures, a project he began as the first Artist-in-Residence at the Coalition for the International Criminal Court. The artwork previewed at the United Nations in November, 2014 during the 13th Assembly of States Parties to the International Criminal Court, as well as in the group exhibition Post Conflict that showed at Kinz+Tillou Fine Art in Brooklyn and Nichido Contemporary Art in Tokyo. The artwork includes portraits of Thomas Lubanga, Kang Kek Lew, Radovan Raradzic, Charles Taylor, and Jean-Pierre Bemba, among others. McCallum, who also curated Post Conflict, presented the portraits jointly with work by artists such as Ai Weiwei, Lana Mesic, Jenny Holzer, Richard Mosse, and others whose work addresses international issues.

Endurance
In 2003, McCallum and Tarry were commissioned by the Seattle Arts Commission to work with Peace on the Street by Kids from the Streets (PSKS), a homeless youth advocacy organization, to create Endurance, a project that received major financial support from the National Endowment for the Arts. The final installation at Conner Contemporary Art featured a time-lapse video of 26 homeless youth standing on a street corner staring into the camera, accelerating the playback and incorporating their audio testimonials to capture their theoretical invisibility as cars and people zoom around them while they tell their stories. The Washington Post commented that the work induced a sense of “discomfort” that “raises McCallum and Tarry's work from the level of sociology or documentary to richly disturbing art” (Washington Post, Michael O’Sullivan, Friday, October 24, 2003- Page WE50).

McCallum’s first project with Tarry, Witness: Perspectives on Police Violence, consisted of five emergency call boxes installed with recordings of police brutality testimonials, from victims and police officers alike. In a particularly provocative recording, one officer claimed that “the police department itself must be dissected, taken apart and put back correctly.” After its first exhibition in Boston, the project’s exhibition at the Bronx Museum prompted then-Mayor Rudy Gulliani to openly criticize it as “political propaganda.” Their project gained significant national attention when they asked for permission to install the call boxes outside the courthouse on Pearl Street where Francis X. Livoti, the police officer who choked Anthony Baez in 1994, was convicted. The federal government, which has jurisdiction over that block, denied their request.

Within Our Gates
McCallum & Tarry were commissioned by the non-profit organization Atlanta Celebrates Photography to create a site-specific installation in an abandoned water tower in Atlanta's forth ward, the neighborhood that Dr. Martin Luther King lived and worked in. The work contributed to Atlanta’s effort to examine the legacy of Dr. King 50-years after his assassination.

“Within Our Gates” consists of three components, two audio pieces and a film. The video, in collaboration with two audio pieces activates the tiresome architecture and transforms the utilitarian space into a passionate and dynamic expression of the confrontation between past and present. The first audio clip is a recording of Governor George Wallace’s speech, “The Civil Rights Movement: Fraud, Sham and Hoax” given on July, 4, 1964. The speech gives a segregationist point of view as Wallace repeatedly questions the Patriotism of his people in response to the Civil Rights Bill.

Upon entering the water tower, the viewer’s sight is momentarily lost in the darkness; however, senses are slowly regained as the sound of the water below becomes muffled with the steady resonance of Imani Uzuri’s chilling rendition of “Freedom.” With the realization of the historically significant video playing on the walls of the water tower, the viewer is immediately transported to a different time and place.

For McCallum & Tarry, this work examines where they stand in relation to their past and their future, to their parents and their son. It is a work of vessels and thresholds, physical and metaphoric, about discovering a past that they know but whose tenor is elusive.

Awards and Residencies
2014-15	Coalition for the International Criminal Court, New York & The Hague 2012	Painting Fellowship, New York Foundation for the Arts 2008 	Video Fellowship, New York Foundation for the Arts 2008	Tokyo Wonder Site Aoyama, Tokyo, Japan 2007	National Portrait Gallery / Provisions Library, Washington D.C. 2006	McColl Center, Charlotte, NC 2006	North 55 & The Playhouse, Derry/Londonderry, Northern Ireland 2004 -06	Lambent Fellowship in the Arts, Tides Foundation, New York, NY 2005	Headlands Center For the Arts, Bridge Residency 2003	Rema Hort Mann Fellowship in the Arts, New York, NY 2003	Arts Up Program, Seattle Office of Arts and Cultural Affairs, Seattle, WA 2002	Red Gate Gallery, Beijing, China, Ford Foundation International Fellowship 1999	Institute on Arts and Civic Dialogue, Harvard University, Boston, MA 1999–00	Madison Metropolitan School District, Madison, WI 1998–99	New York Civil Liberties Union, New York, NY 1996	Albion College, Albion, MI 1995	John Michael Kohler Arts Center Residency, Sheboygan, WI 1993	Vermont Studio Center Residency, Johnson, VT

Solo Exhibitions
Jun 2014	Relevance, Quintenz Gallery Aspen, CO 2013	In Latitudes Where Storms are Born, Greenfield Community College Gallery, MA Sep-Jan 2012-13	Intersections: McCallum & Tarry, Birchfield Penny Art Center, Buffalo, NY July 2012	Wade in the Water, Galerie Nordine Zidoun, Luxembourg Sep 2010	Evenly Yoked: Bradley McCallum & Jacqueline Tarry, Spelman College: Museum of Fine Art, Atlanta GA May 2010	Bearing Witness: Work by Bradley McCallum & Jacqueline Tarry, Contemporary Museum, Maryland Institute College of Art, The Walters Art Museum, Carroll Mansion, Phoenix Shot Tower, Reginald F. Lewis Museum of Maryland African American, History & Culture, Maryland Art Place, Baltimore, MD May 2009	Shades of Black, Galerie Nordine Zidoun, Luxembourg Oct 2008	Within Our Gates, Irwin Street Water Tower, Atlanta, Georgia Sep 2008	The Dark Is Light Enough, Galerie Nordine Zidoun, Paris, France Feb-Jun 2008	Another Country, Kiang Gallery, Atlanta, GA Oct 2007	Now, Tomorrow & Forever, Kinkead Contemporary, Los Angeles, CA May 2007	Bloodlines, Caren Golden Fine Art, New York, NY Mar 2007	Whitewash & Cut, Lisa Dent Gallery, San Francisco, CA Nov-Jan 2006-07	Whitewash, Light Factory, Charlotte, NC November 2006	Bearing, F.U.E.L., Philadelphia, PA June 2006	Cut, Conner Contemporary Art, Washington, DC April 2006	Whitewash, F-2 Gallery, Beijing, China July 2005	McCallum & Tarry—Endurance, Nichido Contemporary Art, Tokyo, Japan Jul-Aug 2005	Endurance, Tokyo Wonder Site, Tokyo, Japan Jun-Sep. 2005	Endurance, Aljira, Center for Contemporary Art, Newark, NJ Oct-Nov 2004 	Endurance, Marvelli Gallery, New York, NY Oct-Nov 2004 	Otis, Conner Contemporary Art, Washington, DC Feb-Apr 2004	Endurance, City Space Gallery, Seattle, WA Oct-Nov 2003 	Civic Endurance, Conner Contemporary Art, Washington, DC Apr-May 2002 	Silence: New Haven, Rush Arts Gallery, New York, NY Oct-Nov 2001	Silence: New Haven, Artspace at Center Church on the Green, New Haven, CT Oct 2000	Witness: Perspectives on Police Violence, The Bronx Museum of the Arts, Bronx, NY and citywide installation, New York, NY May-Jul 2000 	In the Public Realm, Elvehjem Museum of Art, University of Wisconsin-Madison, Madison, WI Nov-Dec 1999	Witness: Perspectives on Police Violence, Cathedral Church of St. John the Divine, New York, NY Jul 1999	Witness: Perspectives on Police Violence, Institute on Arts and Civic Dialogue, Kings Chapel, Boston, MA