Allan McCollum

Is a replica of an artwork as valuable as the original? What if you don't know you're looking at a replica? What then? Artist Allan McCollum, best known for his multiples, reviews his work from the 1970's to the present, discussing his ongoing obsession with the question of what makes an object an "art object." Dimension: 9 X 12 inches, 258 b&amp;w and 76 color reproductions

Allan Mccollum

Arts & Photography

McCollum, Allan

Individual Artists

A.R.T. Pr

Rachel Harrison (born 1966) is one of the most exciting artists making sculptures today. Her assemblages of found and constructed objects carry a provisional quality, a wry sense of humor and an all-embracing intelligence. Playing with materials ranging from plinth, pedestal and corrugated cardboard to plastic ketchup bottles, insulated travel mugs and Barbie's wheelchair-bound friend, Harrison creates colorful, canny, thought-provoking constructions that are worthy peers of Rauschenberg's Combines. This volume, the most comprehensive monograph of Harrison's sculpture, video and painting to date, provides documentation of the past 15 years of her work and includes essays by Tom Eccles, David Joselit, Iwona Blazwick and Jack Bankowsky, plus contributions from Paul Chan, John Kelsey, Allan McCollum, Lucy Raven, Amy Sillman and Steven Stern.

Rachel Harrison: Museum With Walls

Joselit, David

Stern, Steven

Kelsey, John

Bankowsky, Jack

Blazwick, Iwona

Chan, Paul

Eccles, Tom

Raven, Lucy

Sillman, Amy

History & Criticism

Center for Curatorial Studies, Bard College/Whitechapel Gallery/Portikus

"When I go to a place like Brittany or Houston, Texas, what I'm partly trying to do is go around in this very simple way, point to things and say, this is actually of value, I recognize this, it smells good, it tastes good, or something. I want you to taste this," writes Portland, Oregon-based artist Harrell Fletcher in Where I Lived, and What I Lived For. Featuring texts by artists Miranda July, Allan McCollum, Chris Johanson and Byron Kim, this volume was made during a residency at Domaine De Kerguehennec in Brittany, France. Known for collaborative, socially minded works (such as Learning to Love You More, a 2002-present Web-based project produced with July), during this residency Fletcher engaged local people in the creation of more populist works for their much-used sculpture park, resulting in the production of a bright green bronze turtle designed by an eight-year-old boy.

Harrell Fletcher: Where I Lived, and What I Lived for

Johanson, Chris

July, Miranda

Domaine de Kerguehennec

Allen Ruppersberg began his career in Los Angeles in the 1960s, challenging the social and economic premises of the fine arts with his radical conceptual work. ''Performance'' pieces like the staged ''restaurant'' Al's Cafa and The Travel Piece confronted foundational questions about art, nature, and reality in previously unheard of ways. Later, he began to critique notions of authorship, especially in literature--most famously in his ''copied versions'' of Walden and The Picture of Dorian Gray. Allen Ruppersberg: Books, Inc. takes as its emphasis Ruppersberg's engagements with literature and textuality. In addition to beautiful reproductions of Ruppersberg's work, it includes an interview with the artist, as well as an intuitive and intelligent essay on Ruppersberg by fellow artist Allan McCollum.

Allen Ruppersberg:Books, Inc

Paul, Frédéric

Ruppersberg, Allen

F.R.A.C. Limousin

Since the late 1970s, Allan McCollum (born 1944) has addressed the anthropology of art: its distribution, acquisition, display and interpretation. From his first Surrogate Paintings (1978-82) to his Individual Works (1987-89) or recent Shapes Project(since 2005), through his famous series of Plaster Surrogates (begun in 1982), Perpetual Photos (since 1981) and Perfect Vehicles (since 1986), McCollum has revealed art's mechanisms as a status-generating economy. In the 1990s, his “art objects” were replaced by found objects belonging to a situated context and community, in an effort to explore local micro-politics and to develop projects with specific milieus. His use of multiples, of museums and display aesthetics as compositional elements, all stem from this displacement of context. Working with regional museums, heterogeneous audiences, and references going from paleontology to mineralogy, McCollum today has built a truly unique and intriguing body of work that receives its first comprehensive overview in this monograph.

Distributed Art Pub Inc

Allan McCollum: Natural copies : 10.12.1995-4.2.1996, Sprengel Museum Hannover (German Edition)

Reference

Foreign Language Study & Reference

Cantz

Throughout his three-decade career, artist Matt Mullican has always been more concerned with what we think we see than with what we see, taking as a foundational truth the notion that we understand the world primarily through our imagination. Working in various media, Mullican's unique artistic vision concerns itself with a universe of simple yet mysteriously resonant graphic symbols. Drawing on the language of warning labels and highway signs, Mullican has created an unorthodox body of work that occupies a unique place in the world of contemporary art--his piece Five Into One (1991) was one of the earliest artistic forays into the medium of virtual reality. Details From an Imaginary Universe collects Mullican's videos, installations, and drawings from 1972 up to the present day, providing a comprehensive overview of this artist who has tapped and explored our collective visions of a world that in its very familiarity is utterly alien to us.

Matt Mullican: More Details From An Imaginary Universe

Mullican, Matt

Sherer, Daniel

O'Dell, Kathy

Schmidt-Wulffen, Stephan

Tarantino, Michael

Collections, Catalogs & Exhibitions

Hopefulmonster

Allan McCollum: September 11-October 21 1990 : [Rooseum] (Rooseums utställningskatalog) (Swedish Edition)

Rooseum

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Books by McCollum, Allan