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McCallum and Tarry
McCallum + Tarry is the professional artistic collaboration between Bradley McCallum and Jacqueline Tarry, a partnership the artists began in 1999. As a mixed-race couple, McCallum and Tarry are best known for their creative layering of film, audio, painting, photography, and self-portraiture to examine social inequality and the legacy of race in the United States. The artist team has executed and curated multimedia installations that exhibited globally in Beijing,〔(“Bradley McCallum and Jacqueline Tarry, ‘Whitewash’." ), ''Artnet.com''. Retrieved April 23, 2015. 〕 Tokyo,〔Corkill, Edan. (May 1, 2009). “So what then was 1968 all about?” ''Japan Times''. 〕 Luxembourg,〔Zidoun-Bossuyt Gallery. (“McCallum + Tarry.” ) Retrieved April 23, 2015. 〕 and nationally in Washington, D.C.,〔Gopnik, Blake. (October 19, 2003). (“Here & Now.” ) ''Washington Post'': N3. Archived from the original. Retrieved April 23, 2015. 〕 Atlanta,〔Jubera, Drew. (September 28, 2008). “Old Tower a Pointer to The Past.” ''Atlanta Journal-Constitution'': K1. 〕 Seattle,〔Potterf, Tina. (February 17, 2004). "Strife, Addiction, Hope, Endurance." ''The Seattle Times'': E1-2. 〕〔Cotter, Holland. (August 24, 2005). (“Posing, Speaking, Revealing.” ) ''New York Times''. Archived from the original. Retrieved April 23, 2015. 〕 and New York City,〔Dewan, Shaila. (October 3, 2000). (“Police Brutality Revisited, But Not on Federal Ground.” ) ''New York Times''. Retrieved April 20, 2015. 〕 among others. In 2012, the Hirshhorn Museum at the Smithsonian acquired a painting from McCallum + Tarry’s ''Whitewash'' series.〔Stelly, Daniel. (February 9, 2012). (“Darkness is focal point of new Hirshhorn exhibit.” ) ''The GW Hatchet''. Retrieved April 23, 2015. 〕
== Biography ==
McCallum + Tarry’s first collaborative work was ''Witness: Perspectives on Police Violence'', which was inspired by the Abner Louima and Amadou Diallo cases in 1997.〔 By provocatively exploring experiences of police brutality, ''Witness'' generated national controversy and established the artists as prominent social commentators.〔Colangelo, Lisa. (April 19, 2001). (“Rudy Cuffs Museum on Cop Exhibit.” ) ''New York Daily News''. Retrieved April 23, 2015. 〕 The artists’ 2003 installation depicting homeless youth in Seattle, ''Endurance'', built on this reputation. In 2003, they also began creating a series of self-portrait video works that focused on their own mixed-race collaborative, particularly in notable works ''Otis'', ''Topsy-Turvy'', ''Evenly Yoked'', and ''Mammy/Daddy''.〔Wolin, Joseph. (July 6, 2006). (“Legacies: Contemporary Artists Reflect on Slavery.” ) ''Time Out New York'': 55. Archived from the original. Retrieved April 25, 2015. 〕〔Gopnik, Blake. (May 16, 2010). (“Bradley McCallum-Jacqueline Tarry exhibit at Baltimore's Contemporary Museum.” ) ''Washington Post''. Retrieved April 23, 2015. 〕〔Presenter: Dees, Janet (February 9, 2010). (“Bradley McCallum & Jacqueline Tarry.” ) ''SITE Santa Fe''. 1:03:38 hours. Vimeo. Retrieved April 25, 2015. 〕 In 2008, they returned to creating large-scale artwork addressing racial histories, most notably in the projects ''Evidence of Things Not Seen'', ''Within Our Gates'', ''Wade in the Water'', and the ''Whitewash'' painting series.
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