Since the late 1970s, Allan McCollum has addressed the anthropology of art: its distribution, acquisition, display and interpretation. From his first Surrogate Paintings to his Individual Works or recent Shapes Project, through his famous series of Plaster Surrogates , Perpetual Photos and Perfect Vehicles , 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.
Since the late 1970s, Allan McCollum has addressed the anthropology of art: its distribution, acquisition, display and interpretation. From his first Surrogate Paintings to his Individual Works or recent Shapes Project, through his famous series of Plaster Surrogates , Perpetual Photos and Perfect Vehicles , 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.