Where to See Allan McCollum

Allan McCollum's work has been exhibited in many locations. These include the Musée d'art contemporain de Lyon, France; the Musée d'art moderne et contemporain, Geneva; and the Sprengel Museum in Hanover. Other exhibition venues include the Musée des Beaux-Arts in Nîmes, France; the Museum für Moderne Kunst, Frankfurt; and the Neue Galerie am Landesmuseum Joanneum, Graz. McCollum has also had solo exhibitions at the Serpentine Gallery in London, and the Musée d'art contemporain in Bordeaux. Many major museums and libraries now have websites where at least some of their treasures can be viewed. Looking at an object in a glass case offers a valuable encounter with the original, but can be frustrating, especially when the object in turn is a book of which only one opening of many can be displayed at one time. Gallery interactives have been developed in order to allow objects to be viewed on screen, sometimes as three-dimensional images which can be virtually rotated and examined from all angles.

Allan McCollum is an American^[1] artist whose practice often involves exploring concepts of mass production, uniqueness, and value within the art market. While he is best known for his sculptural installations, his exploration of multiples extends to printmaking. McCollum's prints, like his other works, often engage with repetition and seriality. He questions the idea of the unique art object by creating numerous near-identical items, prompting viewers to consider how context and presentation influence perception and worth. His print projects often involve a large number of individual pieces, furthering this investigation into the nature of reproduction and originality. When considering McCollum's prints, it is useful to understand the distinction between an original print and a reproduction. An original print is conceived as a print, made via a matrix such as a plate or screen, and each impression is individually inked and pulled. A reproduction is a copy of a work originally created in another medium. The Professional Art Dealers Association of Canada (PADAC) has established definitions to clarify this difference, though the art market can still be an unregulated space.

Allan McCollum is known for his serial works and explorations of how objects gain meaning through their context and display. His practice questions the nature of uniqueness, value, and the mass production of art. One of his most recognised series is "Surrogate Paintings" (1978-1982^[1]), consisting of framed, monochrome rectangles. These works resemble paintings, yet they are essentially empty placeholders. McCollum made thousands of these objects, varying their size, colour, and frame style. He arranged them in different configurations for each exhibition. Another significant series is "Perfect Vehicles" (1985-). These are hollow, plaster sculptures resembling ancient pottery or urns. Each "Perfect Vehicle" is uniformly grey and presented on a pedestal, inviting contemplation on the nature of art objects and their cultural significance. McCollum's work is important because it raises questions about how we assign value to art, the role of repetition and reproduction, and the impact of display on perception. His projects prompt viewers to consider the social and economic structures that shape our understanding of art.

Allan McCollum is known for his use of casting techniques, particularly with resin. His method involves layering colour within the resin to manipulate light and create a sense of volume. McCollum's process includes a three-level colour lamination: a filter zone to diffuse light, a body zone for containment and absorption of chroma, and a reflector zone to determine the quality of light returned. The casting procedure itself is rigid, demanding precise control over colour suspension in the resin. The artist uses a transparent frame on a white formica surface as a mould, which allows for close analysis of each colour as it is added. The artist mixes colour directly into Epon resin. The mould frame and surfaces are built upon a white reflecting table surface. The first laminate colour is poured into the volume of resin pre-measured to the size of the mould. The second laminate is added to the first filter zone and mesh scrim. Each stage allows for increases in, or reductions of, both chroma and volume. Through the lamination of epoxy resin, McCollum explores colour as a dimensional structure. The high-gloss surface of the resin widens the spectral range, allowing for the use of both deep colours and light metallics. The separation of colours in ordered layers is paramount to the technique, as it enhances their power to transmit light.

Allan McCollum's artistic output and ideas had an impact on a number of other artists. Clemente, for example, met Boetti in Rome in 1972; the two artists formed a spiritual connection, largely stemming from their shared interest in Eastern art and philosophy. Boetti's artistic practice involved collaboration with local artisans, such as weavers and embroiderers. Boetti gave Clemente the sense that if the hand of the artist is removed from the procedures of art, the work could open to randomness. Warhol was an inescapable presence in the New York art world in the 1960s, and he and Clemente became friends soon after the younger artist arrived in New York. Clemente was drawn to Warhol's unique blending of art and life, his willingness to mix high and low culture, and his ability to recognise the equal importance of art history, media, fashion, and social gatherings. In 1983, Warhol painted a portrait of Clemente, and in that same year Clemente began a collaboration with Warhol and Basquiat on a group of paintings and drawings.

Allan McCollum's artistic development occurred during a period of conceptual exploration. His influences are less about direct stylistic imitation and more about engagement with artistic ideas. McCollum's work shares affinities with the Pictures Generation artists of the 1970s and 1980s. This group, including figures like Sherrie Levine and Cindy Sherman, questioned originality and authorship through appropriation and reproduction. McCollum's serialised works, such as his "Surrogate Paintings", engage with similar themes of mechanical reproduction and the commodification of art. Conceptual art movements, which prioritised ideas over traditional artistic skill, also had an impact. Artists such as Sol LeWitt, known for his systematic and rule-based art, provided a framework for McCollum's exploration of repetition and variation. The minimalist focus on industrial materials and serial production also resonates in McCollum's installations. McCollum's practice reflects an engagement with institutional critique, a movement that questioned the role and power structures within the art world. His repeated forms and presentation methods prompt reflection on the nature of art objects and their circulation within a market-driven system.

Allan McCollum is best known for his extended series of works, rather than any single piece. He is recognised for his use of seriality and mass production techniques. One of his earliest and most famous series is "Surrogate Paintings", begun in the late 1970s. These works resemble framed canvases, but are in fact casts. They consist of painted wood or plaster, and are presented as blank, generic artworks. The "Surrogate Paintings" question the nature of originality and the art market's mechanisms of value creation. Another well-known series is "Perfect Vehicles" (1985-present). These are hollow plaster sculptures, each resembling a classical urn or vase. They are produced in large quantities and in various colours. Like the "Surrogate Paintings", "Perfect Vehicles" explores themes of repetition, uniqueness, and the commodification of art. McCollum's practice often involves community participation. His "Individual Meditations" (1987-88) comprised thousands of small, cast plaster objects, each slightly different. These were exhibited and sold at low prices, inviting viewers to own an "original" artwork. His work prompts consideration of how objects acquire meaning and value in contemporary society.

Allan McCollum's art resists easy categorisation, though it relates to several movements from the late 20th century. His practice emerged in the 1970s, a period when artists questioned traditional notions of originality and authorship. McCollum's work shares affinities with Conceptual Art, which prioritises ideas and processes over aesthetic concerns. His serialised sculptures, such as the "Surrogate Paintings" (from 1978) and "Perfect Vehicles" (1988), reflect this interest in systems and repetition. These works also engage with appropriation, a key strategy of postmodernism. By mass-producing near-identical objects, McCollum challenges the idea of the unique art object and its commodity status. His projects also connect to Institutional Critique, as they often examine the structures and conventions of the art world itself. McCollum’s art prompts reflection on how meaning is created and circulated within museums, galleries, and the broader culture.