Allan McCollum Plaster Surrogates; 1983-85

Enamel on hydrostone, different sizes

Allan McCollum Plaster Surrogates; 1983-85

Enamel on hydrostone, different sizes

Allan McCollum Plaster Surrogates; 1983-85

Enamel on hydrostone, different sizes

Allan McCollum Plaster Surrogates; 1983-85

Enamel on hydrostone, different sizes

Allan McCollum Plaster Surrogates; 1983-85

Enamel on hydrostone, different sizes

Allan McCollum Plaster Surrogates; 1983-85

Enamel on hydrostone, different sizes

Installation View, Left: Allan McCollum Plaster Surrogates; 1982/89

Different sizes

Coming soon

1944

born in Los Angeles, California

lives and works in London

solo exhibitions

2013

Perpetual Photos: 1982/1990, Art & Public, Geneva.

Plaster Surrogates Colored and Organized by Andrea Zittel, a collaboration between Allan McCollum and Andrea Zittel. Friedrich Petzel Gallery, New York.

The Shapes Project and The Natural Copies from the Coal Mines of Central Utah, JGM Galerie, Paris.

Allan McCollum: The Book of Shapes, Galerie MFC-Michéle Didier, Paris.

2012

The Shapes Project: Perfect Couples, Barbara Krakow Gallery, Boston, Massachusetts.

2011

Each and Every One of You, Galerie Thomas Schulte, Berlin.

Perfect Vehicles, Art & Public, Geneva, Switzerland.

Drawings, JGM. Galerie, Paris.

2010

Each and Every One of You, La Salle de Bains. Lyon, France.

The Shapes Project: Shapes for Hamilton, Clifford Gallery, Colgate University, Hamilton, New York.

Stop Motion, (collaboration with Keith Edmier), Friedrich Petzel Gallery, New York.

Seriality: Sol LeWitt and Allan McCollum, (two person exhibition), Armand Bartos Fine Art, New York.

2009

Shapes from Maine, Friedrich Petzel Gallery, New York.

Allan McCollum: Works 1980-2008 — A Selection, Luciana Brito Galeria, São Paulo, Brazil.

2008

Sets and Situations, (collaboration with Allen Ruppersperg), Studio Guenzani, Milan, Italy.

Allan McCollum: The Shapes Project, Barbara Krakow Gallery, Boston, Massachusetts.

Allan McCollum: Drawings, Galeria Pelaires, Mallorca, Spain.

2007

The Shapes Project, Friedrich Petzel Gallery, New York.

Shapes, Galerie Thomas Schulte, Berlin, Germany.

2006

Allan McCollum, Solo 8, Musée d’art Moderne et Contemporain, Geneva, Switzerland.

2005

Each and Every One of You, Southeastern Center for Contemporary Art, Winston-Salem, North Carolina.

2004

Your Fate, Christine Burgin Gallery (with Matt Mullican), New York.

Each and Every One of You, Barbara Krakow Gallery, Boston, Massachusetts.

Three Perfect Vehicles,” Doris Friedman Plaza, Central Park, New York. Organized by the Public Art Fund.

Perpetual Photos,” Friedrich Petzel Gallery, New York.

Texas Gallery (with Matt Mullican), Houston, Texas.

2003

The Kansas and Missouri Topographical Model Project, Grand Arts, Kansas City, Missouri.

2001

Signs of the Imperial Valley: Sand Spikes from Mount Signal, University Art Gallery, San Diego State University, San Diego, California.

2000

Small World Drawings, Barbara Krakow Gallery, Boston, Massachusetts.

Visible Markers, Susan Inglett Gallery, New York.

Signs of Mount Signal, Steppling Art Gallery, San Diego State University, Calexico, California.

El Cerro Imposible, Museo Universitario, Universidad Autónoma de Baja California, Mexicali, Mexico.

The Return of the Sand Spikes, The Imperial Valley Historical Society Pioneers Museum, Imperial, California.

THE EVENT: Petrified Lightning from Central Florida (with supplemental didactics), Friedrich Petzel Gallery, New York.

1999

Visible Markers, Galeria Massimo de Carlo, Milano, Italy.

Allan McCollum: Visible Markers (TACK), Borås Konstmuseum, Borås, Sweden.

1998

Allan McCollum, Musé d’art moderne Villeneuve d’Ascq, France.

Allan McCollum, Friedrich Petzel Gallery, New York.

THE EVENT: Petrified Lightning from Central Florida (with supplemental didactics), Contemporary Art Museum, University of South Florida, Tampa, Florida.

Visible Markers, Xavier Hufkens, Brussels, Belgium.

1997

Visible Markers, Susan Inglett Gallery, New York.

1996

Fixed Intervals, John Weber Gallery (in collaboration with Louise Lawler), New York.

Fixed Intervals, S.L. Simpson Gallery (in collaboration with Louise Lawler),Toronto, Canada.

Actual Photos, Kunstraum (in collaboration with Laurie Simmons), Munich, Germany.

1995

Allan McCollum: Natural Copies, Sprengel Museum, Hannover, Germany.

Actual Photos, Sprengel Museum (in collaboration with Laurie Simmons), Hannover, Germany.

Natural Copies from the Coal Mines of Central Utah, John Weber Gallery, New York; Gallery X. Hufkens; Brussels; Metro Pictures Gallery (in collaboration with Laurie Simmons), New York.

1994

Drawings, Museum Haus Esters, Krefeld, Germany.

Drawings, S.L. Simpson Gallery, Toronto, Canada.

1993

Drawings, Centre d’ Art Contemporain, Geneva, Switzerland.

Allan McCollum, Castello Di Rivara, Turin, Italy.

Perpetual Photos, Modulo Centro Difusor De Arte, Lisbon, Portugal.

Plaster Surrogates, Kohji Ogura Gallery, Nagoya, Japan.

Drawings, Galerie Franck + Schulte, Berlin, Germany.

The Dog From Pompei, Studio Trisorio, Naples, Italy.

Two Hundred and Forty Plaster Surrogates, Shiraishi Contemporary Art Inc., Tokyo, Japan.

1992

Lost Objects, John Weber Gallery, New York.

The Dog from Pompei, Galeria Weber, Alexander y Cobo, Madrid, Spain.

The Dog from Pompei, John Weber Gallery, New York.

1991

More Drawings, Lisson Gallery, London, England.

May I Help You?, with Andrea Fraser, American Fine Arts Co., New York.

Plaster Surrogates, Galerie Franck + Schulte, Berlin, Germany.

1990

Allan McCollum, Serpentine Gallery, London.

Allan McCollum, IVAM Centre del Carme, Valencia, Spain.

Allan McCollum, Rooseum, Malmö, Sweden.

Plaster Surrogates, Galerie Yvon Lambert, Paris, France.

Perfect Vehicles, Galerie Fahnemann, Berlin, Germany.

Allan McCollum, Julian Pretto Gallery, New York.

Drawings, John Weber Gallery, New York.

Perpetual Photos, The Denver Art Museum, Denver, Colorado.

Perpetual Photos, Richard Kuhlenschmidt Gallery, Los Angeles, California.

1989

Allan McCollum, Stedelijk Van Abbemuseum, Eindhoven, Holland..

Individual Works, Perpetual Photos, Kunstverein fur die Rheinlande und Westfalen, Düsseldorf.

Perfect Vehicles, Studio Trisorio, Naples, Italy.

Perfect Vehicles, Rhona Hoffman Gallery, Chicago.

Actual Photos, Urbi et Orbi Gallery (in collaboration with Laurie Simmons), Paris.

Perpetual Photos, John Weber Gallery, New York.

Plaster Surrogates, Galeria 57, Madrid.

Perfect Vehicles, Richard Kuhlenschmidt Gallery, Los Angeles.

Surrogate Paintings, Julian Pretto Gallery, New York.

1988

Allan McCollum, Portikus, Frankfurt, Germany.

“Individual Works,” John Weber Gallery, New York.

Perfect Vehicles, Galerie Yvon Lambert, Paris.

Plaster Surrogates, Annina Nosei Gallery, New York.

Glossies, Julian Pretto Gallery, New York.

Individual Works, Musee d’Art Contemporain, Nimes, France.

Perfect Vehicles, 1988, Brooke Alexander, New York.

Allan McCollum and Louise Lawler, Le Consortium, Centre d’Art Contemporain, Dijon, France.

Perfect Vehicles, The John and Mable Ringling Museum of Art, Sarasota, Florida.

Allan McCollum, Stichting De Appel, Amsterdam.

Allan McCollum, Kunsthalle, Zurich (with Richard Prince).

1987

Perfect Vehicles, Lisson Gallery, London.

Allan McCollum, Julian Pretto Gallery, New York.

Perfect Vehicles, Diane Brown Gallery, New York.

1986

Perfect Vehicles, Rhona Hoffman Gallery, Chicago.

Perfect Vehicles, Cash/Newhouse, New York.

Plaster Surrogates, Galerie Isabella Kacprzak, Stuttgart.

Investigations 1986: Allan McCollum, Institute of Contemporary Art, University of Pennsylvania, Philadelphia.

Perfect Vehicles, Kuhlenschmidt/Simon Gallery, Los Angeles.

Perpetual Photos, Diane Brown Gallery, New York.

1985

Plaster Surrogates, Lisson Gallery, London. Catalog with essay by Craig Owens.

Plaster Surrogates, Cash/Newhouse Gallery, New York.

Actual Photos, Gallery Nature Morte, New York (in collaboration with Laurie Simmons).

Actual Photos, Heath Gallery, Atlanta (in collaboration with Laurie Simmons).

Actual Photos, Texas Gallery, Houston (in collaboration with Laurie Simmons).

Actual Photos, Rhona Hoffman Gallery, Chicago (in collaboration with Laurie Simmons).

Actual Photos, Kuhlenschmidt Simon Gallery, Los Angeles (in collaboration with Laurie Simmons).

1984

Plaster Surrogates, Rhona Hoffman Gallery, Chicago.

Plaster Surrogates, Richard Kuhlenschmidt Gallery, Los Angeles.

For Presentation and Display: Ideal Settings, Diane Brown Gallery, New York (in collaboration with Louise Lawler).

1983

Plaster Surrogates, Marian Goodman Gallery, New York.

Plaster Surrogates, Douglas Drake Gallery, Kansas City, Kansas.

1982

Surrogate Paintings, Galerie Nicole Gonet, Lausanne, Switzerland.

Surrogate Paintings, Heath Gallery, Atlanta.

Allan McCollum, Ben Shahn Galleries, William Paterson College, Wayne, New Jersey.

1981

Glossies, Dioptre, Geneva.

Surrogate Paintings, Hal Bromm Gallery, New York.

1980

Surrogate Paintings, Galerie Yvon Lambert, Paris.

1979

Surrogate Paintings, Artists Space, New York.

Surrogate Paintings, 112 Workshop, New York.

Surrogate Paintings, Julian Pretto and Co., New York.

Surrogate Paintings, Douglas Drake Gallery, Kansas City, Kansas.

1977

Claire S. Copley Gallery, Los Angeles, California.

1975

Douglas Drake Gallery, Kansas City, Kansas.

1974

Nicholas Wilder Gallery, Los Angeles, California.

1973

Nicholas Wilder Gallery, Los Angeles, California.

Cusack Gallery, Houston, Texas.

1972

Jack Glenn Gallery, Corona Del Mar, California.

1971

Jack Glenn Gallery, Corona Del Mar, California.

group exhibitions (selected)

2016

Das imaginäre Museum. Werke aus dem Centre Pompidou, der Tate und dem MMK, MMK Museum für Moderne Kunst, Frankfurt a.M. (DE)

2015

to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990, Museum Moderner Kunst Stiftung Ludwig (Ludwig Foundation), Vienna (AT)

Various Small Fires (Working Documents), Los Angeles County Museum of Art (US)

The Noing Uv It, curated by Martin Clark in collaboration with Steven Claydon, Kunsthall, Bergen (NO)

First Choice, Willem Baars Art Consultancy, Amsterdam (NE)

Andy Warhol sul comò, Museo d’Arte Contemporanea di Villa Croce, Genoa (IT)

Sexe, béatitude et logique comptable, mfc – Michèle Didier, Paris (FR)

 

2014

Take it or Leave it – Institution. Image. Ideology, Hammer Museum, Los Angeles, (US)

cycle Des histoires sans fin – séquence printemps 2014, Mamco (Musée d’art moderne et contemporain), Genève (CH)

I’m Still Here, Magasin 3 Stockholm Konsthall, Stockholm (SE)

2013

Out of Hand: Materializing the Postdigital, curated by Ron Labaco, Museum of Art and Design, New York (until July 6th, 2014).

The Last Days of Pompeii: Decadence, Apocalypse, Resurrection, The Cleveland Museum of Art, Cleveland, Ohio.

The 55th International Art Exhibition: The Encyclopedic Palace, curated by Massimiliano Gioni and Cindy Sherman, The Venice Biennale, Venice, Italy.

9th Bienal do Mercosul, curated by Sofía Hernández Chong Cuy, Porto Allegre, Brazil.

Portikus Under Construction, curated by Patrick Armstrong, Tanya Leighton Gallery, Berlin.

Between Memory and Archive, curated by Ruth Rosengarten, Berardo Museum, Lisbon.

2012

Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950 – 1970, Martin-Gropius-Bau, Berlin, Germany.

Dark Matters, Hirshhorn Museum, Washington D.C.

This Will Have Been: Art, Love, & Politics in the 1980s, Institute for Contemporary Art (ICA), Boston, Massachusetts.

The Last Days of Pompeii: Decadence, Apocalypse, Resurrection, J. Paul Getty Museum, Getty Villa, Malibu, California.

2011

Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950 – 1970., J. Paul Getty Museum, Getty Center, Los Angeles.

Volume!, Museu d’Art Contemporani de Barcelona, Barcelona, Spain.

Gehen Blühen Fließen — Naturverhältnisse in der Kunst, Stadtgalerie Kiel, Kiel, Germany.

2010

Collecting Biennials, Whitney Museum of American Art, New York.

Haunted: Contemporary Photography/Video/Performance, Solomon R. Guggenheim Museum, New York.

2009

Notation: Calculus and Shape in the Arts, KZM | Zentrum für Künst und Medientechnologie, Karlsruhe, Germany.

The Pictures Generation, 1974-1984, Metropolitan Museum of Art, New York.

2008

Flying Start – 1978-1982, Museum Morsbroich, Leverkusen, Germany.

Photography on Photography: Reflections on the Medium since 1960, Metropolitan Museum of Art, Art, New York.

Peripheral Vision and Collective Body, Museo d’arte moderna e contemporanea, Bozen / Bolzano, Italy.

8th Bienal de São Paulo: In Living Contact, curated by Ivo Mesquita and Ana Paula Cohen. São Paulo, Brazil.

2007

What Is Painting?, The Museum of Modern Art, New York.

Ironie der Objekte, MUSEION – Museo d’arte moderna e contemporanea, Bozen / Bolzano, Italy.

2006

Faster! Bigger Better!, ZKM Museum for Contemporary Art, Karlsruhe, Germany.

The 1980s – a Topology, Museu Serralves – Museu de Arte Contemporânea, Porto, Portugal.

Los Angeles 1955 – 1985, Centre Pompidou, Paris.

Konkretismus : Material/sprache und abstraktion seit 1955, Baden-Württembergisch Bank Vorstand, Stuttgart, Germany.

2005

Part Object/Part Sculpture, Wexner Center for the Arts, Columbus, Ohio.

Flashback: Revisiting the Art of the Eighties, Museum für Gegenwartskunst, Basel, Switzerland.

Big Bang: Destruction and creation in 20th century art, Le Centre National D’Art et de Culture Georges Pompidou, Paris.

2004

Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon R. Guggenheim Museum, New York, New York.

The Big Nothing, Institute of Contemporary Art, Philadelphia, Pennsylvania.

Modern Means: Continuity and Change in Art, 1880 to the Present, Mori Art Museum, Tokyo, Japan.

2003

Crimes and Misdemeanors: Politics in U.S. Art of the 1980s, Contemporary Arts Center, Cincinatti, Ohio.

Minimal Art and Its Legacy, The Hirshhorn Museum and Sculpture Garden, Washington D.C.

Malevich, Cinema, and Beyond, Fundació La Caixa, Madrid, Spain.

2002

Conversation? Recent acquisitions of the Van Abbemuseum, Athens School of Fine Arts (The Factory).

The Object Sculpture, Henry Moore Institute, Leeds.

Re-Cast: Postmodern Classicism, Onassis Foundation, Olympic Tower, New York.

Malevich, Cinema, and Beyond, Centro Cultural de Belém, Lisbon, Portugal.

Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001, The Whitney Museum of American Art, New York.

2001

Televisions, Kunsthalle Wien, Vienna, Austria.

Monet’s Legacy: Series – Order and Obsession, Hamburg Kunsthalle, Hamburg, Germany.

Paso Doble 2: Claude Rutault avec Allan McCollum et Stephen Prina, Muslée d’art moderne et contemporain, Geneva, Switzerland.

Mythic Proportions: Painting in the Eighties, Museum of Contemporary Art, North Miami, Florida.

2000

inSITE2000-2001: New Contemporary Art Projects for San Diego/Tijuana.

Picturing Media: Photographs from the Permanent Collection, The Metropolitan Museum of Art, New York.

Pollock to Today: Highlights from the Permanent Collection, Whitney Museum of American Art, New York.

Anatomically Incorrect, Museum of Modern Art, New York.

Frames of Reference: From Object to Subject, Center for the Arts, Connecticut.

1999

The Museum as Muse: Artists Reflect, The Museum of Modern Art, New York; The Museum of Contemporary Art, San Diego, California.

The American Century: Art and Culture: 1950-2000, Whitney Museum of American Art, New York.

1998

The Mass Ornament: the mass phenomenon at the turn of the millennium, Kunsthallen Brandts Klædefabrik, Odense, Denmark.

Artificial, Museu d’Art Comtemporani, Barcelona, Spain.

Fast Forward, Kunstverein in Hamburg, Germany.

Fotogramas: art e cinema na colecão Marieluise Hessel, Museu de Arte Moderna, São Paulo.

1997

Dramatically Different, Le Magazin Centre National d’Art Contemporain, Grenoble, France.

Fotogramas: art e cinema na colecão Marieluise Hessel, Centro Cultural Light, Rio de Janeiro, Brazil. Curated by Ivo Mesquita.

Objects of Desire: The Modern Still Life, Hayward Gallery, London, England.

1996

Objects of Desire: The Modern Still Life, Museum of Modern Art, New York. Curated by Margit Rowell.

L’Informe: Mode d’Emploi, Centre national d’art et de culture Georges Pompidou, Paris, France.

1995

Critiques of Pure Abstraction, Independent Curators Incorperated, New York.

Pittura/Immedia: malerei in den 90er Jahren, Neue Galerie am Landesmuseum Joanneum und Kunstlerhaus, Graz, Austria.

Temporarily Posessed: The Semi-Permanent Collection, The New Museum of Contemporary Art, New York.

Corpus Delicti, Museum van Hedendaagse Kunst (S.M.A.K.), Gent.

1994

Media Visions in Contemporary Art: Selections from the Weatherspoon Collection, Weatherspoon Art Gallery, Greensboro, North Carolina.

The Label Show: Contemporary Art and the Museum, Museum of Fine Arts, Boston.

1993

Kunstruktionzitat, Sprengel Museum, Hannover.

Am Beispiel Plastik. Konzeption und Form, Sprengel Museum, Hannover.

Sculpture and Multiples, Brooke Alexander Gallery, New York.

1992

Allegories of Modernism: Contemporary Drawings, Museum of Modern Art, New York.

Repetition/Transformation, Museo Nacional de Arte Reina Sofia, Madrid.

Stills, Andrea Rosen Gallery, New York.

1991 - 1993

Departures: Photography 1923-1990. Curated by Edmund Yankov in conjunction with Independent Curators Incorporated. Itinerary: Iris and B. Gerald Cantor Art Gallery, College of the Holy Cross, Worcester, MA; Denver Art Museum, Denver, CO; Joslyn Art Museum, Omaha, NE; Pittsburgh Center for the Arts, Pittsburgh, PA; Goldie Paley Gallery, Moore College of Art and Design, Philidelphia, PA; and the Telfair Acadamy of Arts and Sciences, Savannah, GA; Catalog.

1991

1991 Carnegie International. Curated by Lynne Cooke and Mark Francis. The Carnegie Museum of Art, Pittsburgh.

Beyond the Frame: The Transition From Modernism to Postmodernism in American Art 1960-1990.

Objects for the Ideal Home; The Legacy of Pop Art, Serpentine Gallery, London.

Zomeropstelling eigen collectie: nieuwe aanwinsten, Stedelijk Van Abbemuseum, Eindohoven.

La Garenne Lemot Gétigné, Clisson, France.

Just what is it that makes today’s homes so different, so appealing?, The Hyde Collection, Glen Falls, New York.

de-Persona, The Oakland Museum, Oakland, California.

1990

The Readymade Boomerang; Certain Relations in 20th Century Art, Sydney Biennale, Art Gallery of New South Wales, Sydney, Australia.

The Indomitable Spirit, International Center for Photography, New York.

Life-Size: A Sense of the Real in Recent Art, Israel Museum, Jerusalem.

La Collection Del Oeuvres Photographiques Du Musee De La Roche-Sur-Yon, Musee De La Roche-Sur-Yon, France.

Taking the Picture: Photography and Appropriation, Leo Castelli, New York.

All Quiet on the Western Front, Espace Dieu, Paris.

The Last Decade: American Artists of the 80’s, Tony Shafrazi Gallery, New York.

Strategies for the Last Painting, Jamie Wolff Gallery, New York. Traveled to Feigen Inc., Chicago.

Three Decades, The Oliver-Hoffmann Collection, Museum of Contemporary Art, Chicago.

1989

Image World: Art and Media Culture, The Whitney Museum of American Art, New York.

The Play of the Unsayable, Wiener Secession, Vienna.

A Forest of Signs: Art in the Crisis of Representation, The Museum of Contemporary Art, Los Angeles.

Bilderstreit: Wiederspruch, Einheit und Fragment in der Kunst seit 1960, Museum Ludwig, Rheinhallen der Kölner Messe, Cologne.

Contemporary American Sculpture: Signs of Life, Fundaçao Calouste Gulbenkian, Lisbon.

1989 Whitney Biennial Exhibition, The Whitney Museum of American Art, New York.

The Photography of Invention: American Pictures of the 1980’s, The National Museum of American Art, Washington D.C.

Culture Medium, International Center of Photography, New York.

The Desire of the Museum, Whitney Museum of American Art at Federal Reserve Plaza, New York.

Conspicuous Display, Stedman Art Gallery, Rutgers University, Camden, New Jersey.

Art at the End of The Social, Rooseum, Malmö, Sweden.

Anti-Simulation: A Debate on Abstraction, Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York.

Departures: Photography 1924-1989, Hirschl and Adler Modern, New York.

Galerie Isabella Kacprzak, Cologne. Catalog with essays by Johannes Meinhardt and Jeffrey Rian, in German.

Art Collected: Private, Corporate and Museum Contexts,” Hans Haacke, Louise Lawler, Allan McCollum; University Art Museum, Binghampton, New York.

Hybrid Neutral: Modes of Abstraction and the Social, Richard F. Brush Art Gallery.

St. Lawrence Museum, New York. Traveling exhibition coordinated by Independant Curators Incorporated.

Melancolia, Galerie Grita Insam, Vienna.

Das Licht Von Der Anderen Seite, PPS. Galerie F.C. Gundlach, Hamburg.

Small-Scale Work, Scott Hanson Gallery, New York.

80’s International, Langer and Co., New York.

What you don’t see is what you get: Allan McCollum’s surrogates, perpetual photos and perfect vehicles by John Miller

The Emperor’s Clothes aspect of art flouts common sense in spite of (more likely because of) the relief it affords from the usual goosestepping toward Quality. People deny, out of hand, the desire to see others naked, let alone the desire to see if the ruler really “measures up.” There is another story of a Chinese emperor who staged a competition between the two foremost artists of his court. A prize would go to the one who created the most wonderful mural. They were given opposite sides of a long hall, partitioned down the middle. The first worked slavishly for months. The second hardly lifted a finger. The time…

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Allan McCollum.net

Kippi kaufte alles by Andrea Hilgenstock

Wer ihre Galerie besucht, der nimmt etwas mit. Etwas, das wertvoll ist und sich nicht (nur) in Zahlen beziffern lässt. Eine Art immateriellen Mehrwert. Kunst, die nicht aus dem Kopf geht, die das geistige Auge auch nach Verlassen des Ortes noch beschäftigt. Selten geworden und doch zu finden bei Isabella Czarnowska, ästhetische Intensität…

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Die Welt

Allan McCollum by Trevor Starke

Encountering a collection of Allan McCollum’s Plaster Surrogates in an art context can be a disconcerting experience. They seem to frustrate both the habitual modes of approaching works of art and the expectations that one implicitly has of an “art experience.” A Surrogate is never found in isolation, but always as part of a profusion of…

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Allan McCollum.net

texts and catalogues

2012

Anastas, Rhea; Buskirk, Martha; Marks, MaryJo and Quéloz, Catherine: Allan McCollum, monograph. JRP Ringier, Zürich, Switzerland.

2011

Bernard, Paul: Interview with Allan McCollum, on Each and Every One of You. Frog Magazine. French.

Joselit, David: Signal Processing: Abstraction Then and Now, Artforum, Summer issue, pp 356-361.

2010

Denave, Jean-Emmanuel: Un bain de multitude: Each and Every One of You, Le Petit Bulletin. French.

Daniel, Marion: “Allan McCollum,” La rèpetition, MAC’s (Musée des Arts Contemporains de la Communauté française de Belgique), Hornu, Belgium, Fall-Winter 2010. French.

2009

Klein, Alex (ed.): Conversation / Allan McCollum, Allen Ruppersberg, Words Without Pictures, Los Angeles County Museum of Art, Los Angeles, pp. 416-442.

Sollins, Susan, Sollins, Marybeth, Miller, Wesley: Art: 21 – Art in the Twenty-first Century, 5, Art21 Inc, New York, p.146-159.

Wheatley, Charmaine: Allan McCollum, Border Crossings, Issue No. 110, May, pp. 83-84.

Visconti, Jacopo Crivelli (ed. and text): Allan McCollum: Works 1980-2008 – A Selection, Portuguese/English; also texts by Andrea Fraser, Craig Owens, Dietmar Elger, Hal Foster, Helen Molesworth, Jill Gasparina, Lynne Cooke, Rhea Anastas, and Rosalind Krauss; Allan McCollum interviewed by D.A. Robbins, Robert Enright, and Thomas Lawson. Luciana Brito Galeria, São Paulo, Brazil.

Yablonsky, Linda: Photo Play, Art in America, April.

Gopnik, Blake: It’s the Thought That Counts, Washington Post Online, January 25 (ill.).

Daraktchieva, Iavora: Allan McCollum, ‘Shapes from Maine,’ TimeOut New York, February 5-11, p. 55.

Plagens, Peter: The New Real, Art in America, February, pp. 67-72.

Saunders, Matt: Notation: Calculation and Form in the Arts, ArtForum, February, pp. 184-185 (ill.).

2008

Gasparina, Jill: L’art à une Échelle de Masse: Sur The Shapes Project d’Allan McCollum,” 20/27 No. 2, January, pp. 4-19.

Harrell Fletcher: Where I Lived, and What I Lived For, Harrell Fletcher, interviewed by Allan McCollum, with texts by Miranda July, Allan McCollum, Byron Kim, Jesse Parks Hilliard, Chris Johanson, Harrell Fletcher, and Frederick Paul. Domaine De Kerguehennec. French/English.

Mosset, Olivier: La question du geste et de la notion d’auteur, Beaux Arts: Qu’est-ce Que La Peinture Aujourd’hui?, pp. 28-31 (ill.).

Here’s The Thing; The Single Object Still Life, Here’s The Thing, exhibition catalogue.

Allan McCollum, Elle Deco, February, p. 108 (ill.).

Polsinelli, Michael: Nicolas Bourriaud’s ‘Estratos’ in Murcia, Flash Art, March-April, p. 73 & 78, (ill.).

28a Biennal de São Paulo começa no domingo, Metro, 23 de Outobro, p. 16 (ill.).

Helander, Bruce: Brownstone Collection, Bare Bones in the Kitchen, Learning to See, pp. 8-11 (ill.).

Lawson, Thomas: Allan McCollum, Estratos, Proyecto Arte Contemporàneo Muricia, pp. 151-161 (ill.).

2007

Schlagel, Andreas: Allan McCollum, Galerie Thomas Schulte, Flash Art, Vol. XL No.252, January-February, pp.122-123.

Princenthal, Nancy: Shape Shifter, Art in America, February, pp 106-109.

Jana, Reena: 31,000,000,000: A Monoprint for Every Human on Earth, Art on Paper, March/April.

Katzeff, Miriam, Lawson, Thomas and Morgan, Susan (eds.): REALLIFE Magazine: Selected Writings and Projects 1979-1994. Published by Primary Information, New York.

Kraft, Jessica: Profile: Allan McCollum, Contemporary Magazine, Issue 91. London.

Keegan, Matt: Erratic Systems and Irregular Cycles, Modern Painters, February, pp.84-89.

Allan McCollum, Profile, Contemporary Magazine, Issue 91. London, UK.

Gasparina, Jill: Le cauchemar de Greenberg: Sur la massification de l’art contmporain, Les Cahiers du Musée National d’Art Moderne, No. 101, Fall, pp.99-120. French.

2006

McCollum, Allan, “Matt Mullican, in Discussion with Allan McCollum,” Model Architecture, edited by Stella Rollig, with essay by Stephan Schmidt-Wulffen. Book published by Hatje Cantz, Ostfirdern, Germany.

Lefcourt, Daniel, “An Array of 10 Questions Alternating Between Profound and Mundane,” North Drive Press, #3.

Spears, Dorothy, “Artists Under the Influence,” Art & Antiques, Summer 2006, pp.86-93.

Robbins, David, “Interview with Allan McCollum,” The Velvet Grind: Essays, Interviews, Satires (1983-2005), JRP/Ringier and Les Presses Du Reel, Zurich, Switzerland.

Varnedoe, Kirk, Pictures of Nothing: Abstract Art since Pollock, Princeton University Press, Princeton, New Jersey.

Robertson, Rebecca, “Cast of Billions,” Artnews, October, p.48.

Rao, Shailesh: Shape of Things to Come, Surface Magazine, Issue 62, November.

McCollum, Allan, “Matt Mullican’s World,” Reallife Magazine: selected writings and projects, 1979-1994, book edited by Miraim Katzeff, Thomas Lawson, and Susan Morgan, Primary Information, New York.

2005

Foster, Hal, Krauss, Rosalind E., Bois, Yve-Alain, and Buchloh, Benjamin H. D., Art Since 1900: Modernism, Antimodernism, Postmodernism, Thames and Hudson, London.

Molesworth, Helen (et al): Part Object Part Sculpture, Wexner Center for the Arts, Pennsylvania State University Press.

Dwyer, Eugene: From Fragments to Icons: Stages in the Making and Exhibiting of the Casts of Pompeian Victims, 1863-1888, by Eugene Dwyer. Interpreting Ceramics, Issue 8, 2005.

Kunstmuseum Wolfsburg Gesammelte Werke 1 Zeitgenossische Kunst seit 1968, Kunstmuseum Wolfsburg, Hatje Cantz Verlag: 2005, p. 280-289 (ill).

Fraser, Andrea: ‘Creativity = Capital’?, Museum Highlights: The Writings of Andrea Fraser, MIT Press, Cambridge, Massachusetts, and London, England, p. 29-36 (ill).

2004

Richards, Judith Olch, Inside the Studio: Two Decades of Talks with Artists in New York, Independent Curators International, New York: studio talk by Allan McCollum, p. 94-97.

Smith, Roberta: Allan McCollum: Perpetual Photos and The Recognizable Image Drawings, The New York Times, September 10.

Rosenthal, Barbara: Allan McCollum is Not Locked In, New York Arts Newsletter, October 8.

Deitcher, David: On Spiritual America, Artforum, October.

Burton, Johanna: Allan McCollum: Perpetual Photos and The Recognizable Image Drawings, Artforum, November.

2003

Cateforis, David: A Map of the Divide, Review, Kansas City, Missouri, vol. 6, no. 2, Dec. 2003-Jan. 2004.

Anastas, Rhea: Allan McCollum: The Kansas and Missouri Topographical Model Project, Grand Arts, Kansas City, Missouri.

Buskirk, Martha, The Contingent Object of Contemporary Art, The MIT Press, Cambridge, Massachusetts.

2002

Osvaldo Sánchez & Cecilia Garza, Fugitive Sites: inSite 2000-2001, Installation Gallery, San Diego, California. Spanish/English.

2001

Lovelace, Carey, review of “Allan McCollum: THE EVENT: Petrified Lightning from Central Florida (with Supplemental Didactics)”, Art In America, February, 2001.

Richard, Frances, review of “Allan McCollum: THE EVENT: Petrified Lightning from Central Florida (with Supplemental Didactics)”, Artforum International, America, January, 2001.

Yapelli, Tina: Signs of the Imperial Valley: Sand Spikes from Mount Signal, brochure text for exhibit at the University Gallery, San Diego State University Gallery, San Diego, California.

Clearwater, Bonnie: Mythic Proportions: Painting in the Eighties, Museum of Contemporary Art, North Miami, Florida.

Milazzo, Richard: Caravaggio on the Beach: Essays on Art in the 1990’s, book with black and white reproductions, Editions d’Afrique du Nord, Morocco.

Varnedoe, Kirk; Antonelli, Paola; Siegal, Joshua (editors): Modern Contemporary Art at MoMA since 1980. Book with color reproductions, Museum of Modern Art, New York.

Kravanga, Christian: The Museum as Arena: Artists on Institutional Critique, Kunsthaus Bregenz. German/English.

Pincus, Robert L.: inSITE2000 Isn’t Over Yet, Take a New Look, The San Diego Union-Tribune, Jan. 25, 2001.

Berlowitz, Jo-Anne: inSITE, Sculpture, July/August 2001, Vol. 20, No. 6, pp 78-79.

Enright, Robert: No Things But in Ideas: an interview with Allan McCollum, Border Crossings, Issue No. 79, September, pp. 24-40.

2000

Molesworth, Helen: Impossible Objects: Man-Made Fulgurites by Allan McCollum, Documents, No. 17, Winter/Spring, pp.40-49.

Century of Innocence: The History of the White Monochrome, book with essays and black and white reproductions, Rooseum-Center for Contemporary Art, Malmö, and Litjevalchs Konsthall, Stockholm. Swedish/English.

Belasco, Daniel: Spike Punch, Artnews, October issue, vol. 99, no. 9, p. 36.

Shottenkirk, Dena, review of “THE EVENT: Petrified Lightning from Central Florida,” C Magazine, winter issue #67/68, p. 63.

Meinhardt, Johannus: Allan McCollum: Zeichen, Kopien, Stellvertreter, Abdrücke, Spuren, KUNSTFORUM, Band 149, January/March, 2000, Seite 224, Monograph. German.

Menu, Michael: Coups d’foudre: les fulgurites d’Allan McCollum, TECHNE: la science au service de l’Histoire de l’Art et des civilisations, issue No. 12. French.

Cohen, Mark Daniel, review of “Allan McCollum: THE EVENT: Petrified Lightning from Central Florida (with Supplemental Didactics),” November 1.

Porter, Amy Jean, review of “Allan McCollum: THE EVENT: Petrified Lightning from Central Florida (with Supplemental Didactics),” November 1.

La Collection de la Fondation Cartier pour l’art contemporain, preface by Hèrvé Chandes. Text by Helene Kelmachter. Fondation Cartier pour I’art contemporain, 1998, p. 292. French.

1999

McShine, Kynaston: The Museum as Muse: Artists Reflect, The Museum of Modern Art, New York, pp 144-145, 258, 253.

Riemschneider, Burkhard, Grosenick, Uta (editors): Art at the Turn of the Millennium, Taschen Verlag, 1999, pp 338-341.

Meron, Aya: Concrete Fossils, Mishkafayim, article with color reproductions, issue 27. 1999, pp 24-27.

Broeker, Holger: Gesammelte WerkeI, Zeitgenössische Kunst seit 1968, Kunstmuseum Wolfsburg, Wolfsburg, Germany. German.

Phillips, Lisa: The American Century: Art & Culture 1950-2000, book published by W. W. Norton with the Whitney Museum of American Art, New York, 1999. With color reproductions.

Hollein, Max: Zeitgenössische Kunst and der Kunstmarktboom, book published by Böhlau Verlag Wien, Köln/Weimar, 1999.

1998

Mitchell, W.J.T.: The Last Dinosaur Book, book published by The University of Chicago Press.

Allan McCollum: Musée d’Art Moderne de Lille Metropole-Villeneuve d’Ascq. French.

1997

Krauss, Rosalind E., Bois, Yve-Alain: Formless: A User’s Guide, Zone Books.

Between Artists: Twelve contemporary American artists interview twelve contemporary American artists, book with Allan McCollum interviewed by Thomas Lawson, A.R.T.Press, Los Angeles, California, 1997.

Morgan, Robert C.: Between Modernism and Conceptual Art, MacFarland and Co., Inc., Jefferson, North Carolina, 1997, pp 160-161.

1996

Foster, Hal: The Return of the Real: The Avant-Garde at the End of the Century, Mit Press.

Sandler, Irving: Art of the Postmodern Era: From the Late 1960s to the Early 1990s, Harpercollins.

Lawson, Thomas: Allan McCollum, interview with Allan McCollum, A.R.T.Press, Los Angeles, California, 1996, 96 pages.

Saunders, George: Civil War Land – in Bad Decline, Random House, New York.

Gauthier, Michel: Port compris, toutes destinations: (sur les Containers de Stephen Hughes), Art Presence, July, August, September 1996, pp 3-17.

Rowell, Margit: Objects of desire: The Modern Still Life, Museum of Modern Art, New York: Harry N. Abrams, 1996.

1995

Rey, Stephanie: Allan McCollum; Dinosaur Footprints, L’Echo, reviews of Xavier Hufkens Gallery show, Brussels, September 23/25, 1995.

Lambrecht, Luk: Dinosaurussporen in Elsene, Di Morgeu, review of Xavier Hufkens Gallery show, October 3, 1995, p. 25.

Taplin, Robert: Allan McCollum at John Weber, Art in America, October 1995, p. 120.

Staniszewski, Mary Anne: Believing Is Seeing; Creating the Culture of Art, Penguin Books USA Inc., New York, NY.

Cooke, Lynne: Auf der Spur des Originals. Allan McCollum und Katharina Fritsch in den neunziger Jahren, in: Salzburger Kunstverein (Hg.): Original. Symposium Salzberger Kunstverein, Ostifildern 1995, pp.91-105.

Decter, Joshua: Allan McCollum: Natural Copies, Artforum, review of exhibit at John Weber Gallery, Summer 1995, p. 104.

Melrod, George: Reviews: New York, Sculpture, review of exhibit at John Weber Gallery, July-August, 1995; p. 40.

Adamopoulus, Konstantin: Allan McCollum, artist kunstmagazin, 2/93 – 9/93, pp 24-27.

Quéloz, Catherine: Le Travail Requis pour Restaurer les Vitrines Fut Presque Aussi Important Que Celui Necessaire Pour Preserver les Artefacts, Interview with Allan McCollum on the Natural Copies from the Coal Mines of Central Utah, including album of the “Reprints”, Documents Sur l’Art, Spring, 1995, pp 61-79.French/English.

Art Works: The PaineWebber Collection of Contemporary Masters, texts by Jack Flam, Monique Beudert, Jennifer Wells, and Donald B. Marron, Rizzoli International Publications Inc.

Purcell, Rosamond W.: The Problematics of Collecting and Display, part 2, The Art Bulletin, June.

1994

Rorimer, Anne: Allan McCollum: Systeme aesthetischer und (Massen-) Produktion, Kunstforum, Jan-Feb 1994, pp 136-140. German.

Jackson, Jed: Art: A Comparative Study, book by published by Kendall / Hunt Publishing Company, Dubuque, Iowa.

1993

Cooke, Lynne: Natural Casts: Recent work by Allan McCollum, Archis, Feb ’93, pp 26-35. Dutch/English.

Meinhardt, Johannes: Allan McCollum, Kunstforum 123, 1993. pp184-187. German.

Saunders, Wade: Making Art Making Artists (Includes interview with Allan McCollum), Art in America, January 1993, pp 93-95.

Kastner, Jeffrey: Allan McCollum, Centre d’Art Contemporain, Frieze, May 1993, p.52.

Janus, Elizabeth, review of Centre d’Art Contemporain Drawings exhibition, Geneva, Switzerland, ARTI, Fall 1993, pp 204-205.

Papineau, June, review of Centre d’Art Contemporain Drawings exhibition, Geneva, Switzerland, C Magazine, issue 39, Fall 1993, pp 58-59. Portuguese.

Rosengarten, Ruth: Perpetual Photographs, Galeria Modulo, Lisboa, Visüo, July 8, 1993, p. 91. Portuguese.

Melo, Alexandre: Allan McCollum, Modulo Exhibition, Expresso, July 17, 1993. Portuguese.

Mollica, Franco: Allan McCollum, Tema Celeste, Summer 1993, p. 72. Italian.

Perretta, Gabriele: Allan McCollum, Flash Art, Summer 1993, p. 95. Italian.

Masséra, Jean-Charles: Allan McCollum: The Dog From Pompei, John Weber Gallery exhibition review, art press, Feb. 1993, p. 86. French.

Tager, Alexandra: Geneva Opens Its Doors, Art and Auction, March, 1993, pp 24-26.

Bartels, Daghild: Allan McCollum, Pieter Laurens Mol, Centre d’Art Contemporain, Genf, Artis, July, 1993, pp 53-54. French.

Becket, Sister Wendy: The Gaze of Love, Harper Collins Publisher, London, 1993.

Vitiello, Maurizio: Allan McCollum, Art Leader, Studio Trisorio exhibition review, July-August 1993, p. 28. Italian.

1992

Owens, Craig. Beyond Recognition: Representation, Power, and Culture, book edited by Scott Bryson, Barbara Kruger, Lynne Tillman, and Jane Weinstock, with introduction by Simon Watney. University of California Press, 1992.

Kalina, Richard: Lost and Found, Art in America, June 1992, 99-101.

Jinker-Lloyd, Amy: Musing on Museology, Art in America, June 1992, 47-51.

Wetzel, Michael: Dealing With Things, Camera Austria, 38, 1991-1992, pp 23-40. German.

L’art des Ëtats-Unis, book with texts by J. Martin, C. Massu, S. Nichols, A. Parigoris, D. Riout, D. Travis. Citadelles and Mazenod, Paris. 1992. French.

Kravanga, Christian: Allan McCollum: Das Gespenst von Inhalt. Die ‘Perpetual Photos’, Eikon: Internationale Zeitschrift fur Photographie & Medienkunst, pp 26-31.

1991

Gablik, Suzi: The Reenchantment Of Art, Thames and Hudson Inc., New York, NY, Thames and Hudson Ltd., London, p. 34-35.

Rimanelli, David: Openings: Andrea Fraser, Artforum, Summer 1991, p. 106.

Art, Hamburg, January 1991, p.101. German.

Kimmelman, Michael: At Carnegie 1991, Sincerity Edges out Irony, The New York Times, October 27, 1991, pp 31 and 34.

Bos, Saskia (et al): Inscapes, Stichting De Appel, Amsterdam, Holland. Dutch/English.

1990

Shottenkirk, Dena: Allan McCollum, Exhibition review at John Weber Gallery. Artforum, Summer 1990, pp 164-165.

Quéloz, Catherine: Allan McCollum, Beaux Arts, February 1990, pp 106-107. French.

Roskam, Mathilde: Allan McCollum at the Van Abbemuseum, Eindhoven, Flash Art, January/February 1990, pp 143-144.

Celant, Germano: Unexpressionism, New Art International, edited by Dr. Andreas C.

Spears, Dorothy: Allan McCollum, Exhibition review at John Weber Gallery. Arts Magazine, Summer 1990, p. 79.

Power, Kevin: Interview with Allan McCollum, Artes and Leiloes, Lisbon. Feb/Mar, 1990. pp 75-80. Portuguese.

Grundberg, Andy: Allan McCollum, New York Times, Friday, March 23, 1990.

Gillick, Liam: Allan McCollum, Serpentine, Exhibition review in Artscribe, Summer 1990, pp 73-74.

Vogel, Sabine B.: Allan McCollum a Stedelijk Van Abbemuseum, Contemporanea, April 1990, p. 99. German.

Ward, Frazer: Allan McCollum, Drawings, Exhibition review in Art and Text, c. August 1990.

Pietsch, Hans: London: Allan McCollum, Exhibition review in Art Das Kunstmagazine, April 1990. German.

Morsiani, Paola, Review in Juliet, October/November 1990, pp 58-9. Italian.

Papadakis, Andreas, Farrow, Clare, Hodges, Nicola: New Art, St. Martins Press, New York, 1990.

Kent, Sarah: Art or Artefact?, Time Out, London, March 21-28, 1990.

New Art, Selected by Phyllis Freeman, Mark Greenberg, Eric Himmel, Andreas Landshoff and Charles Miers, Harry N. Abrams, Inc., New York, 1990.

36 Perpetual Photos: 1982/89 – Allan McCollum. IVAM/Colleccio Centre del Carme; Imschoot, Ghent, Belgium 1990.

L’art et son concept, Ghislain Mollet-Viéville, Paris 1990.

1989

Meinhardt, Johannes: Ersatzobjeckte und bedeutende Rahmen: Allan McCollum, Louise Lawler, Barbara Bloom, Kunstforum, March/April 1989, pp 200-220. German.

Ball, Edward: The Beautiful Language of My Century, Arts Magazine, January 1989, pp 65-72.

Vogel, Sabine B.: Allan McCollum: Individual Works, Wolkenkratzer Art Magazine, March 1989, pp 78-81. German.

Collins, Tricia and Milazzo, Richard: Quantity and Immanence: Allan McCollum, Interview with the artist. Tema Celeste, October/December 1989, pp 54-56.

Stals, J. Lebrero: Allan McCollum, Lapiz International, Vol.VI, No. 57, March 1989, p. 69. Spanish.

Durand, Regis: Allan McCollum and Laurie Simmons, Review. Artpress, May 1989, p. 66. French.

Sterckx, Pierre: Les vehicules parfaits d’Allan McCollum, Artpress, No. 138, July/August. French.

Kandel, Susan. Allan McCollum, Exhibition review, Richard Kuhlenschmidt Gallery. Artissues, September/October 1989, p. 21.

McCollum, Allan: Abundance and Availability, De Appel , 1989 No. 1, p. 16-19.

Knight, Christopher: McCollum’s ‘Perfect Vehicle’ Shifts to High Gear, Los Angeles Herald-Examiner, May 25, 1989.

Encontros: Portuguese Meetings on Contemporary Art, Fundaçao Calouste Gulbenkian, catalog with text by Judith Russi Kirschner, Lisbon, Portugal.

Leigh, Christian, Shinoda, Tazami, Kurabayashi, Yasushi: The Whitney Biennial 1989,” Bijutsu Techo, July 1989, pp 157-177.

Smith, Joshua, Foresta, Merry A. The Photography of Invention: American Pictures of the 1980’s, MIT Press, Cambridge, Massachusetts and London.

Collins, Tricia, Milazzo, Richard. Hyperframes: A Post-Appropriation Discourse (Volume 1), book published by Editions Antoine Candau, Paris, 1989.

Celant, Germano, Unexpressionism: Art Beyond the Contemporary, Rizzoli, New York, 1988.

Robbins, David: The Camera Believes Everything, book of interviews, Edition Patricia Schwarz, Stuttgart, West Germany, 1989.

1988

Gintz, Claude: Allan McCollum: Perfect Vehicles, Exhibition review, Galerie Yvon Lambert. Art Press 123, March 1988, p. 70. French.

Bourriaud, Nicolas. L’Aura de McCollum, New Art International, October/November 1988, pp 68-72. French.

Cotter, Holland. Allan McCollum at Julian Pretto, Annina Nosei and John Weber, Exhibition review. Art in America, April 1988, pp 203, 204.

Miller, John: Allan McCollum. John Weber Gallery, Exhibition review. Artforum, May 1988, p. 139.

Gablik, Suzi: Dancing with Baudrillard, Art in America, June 1988, p. 27.

Salvioni, Daniela. Allan McCollum, Exhibition review John Weber Gallery. Flash Art, May/June 1988, p. 127.

Schenker, Christoph: Allan McCollum/Richard Prince, Noema Art Magazine, September/October 1988, pp 82-83. German.

Fraser, Andrea, Quéloz, Catherine: Indices de Culture. Allan McCollum et Richard Prince, Kunsthalle de Zürich, Faces, No.9, pp 26-33. French.

Fraser, Andrea: Individual Works, The John Weber Gallery, New York.

Fraser, Andrea: Individual Works, Faces, No.9, Spring, pp 26-29. French.

Quéloz, Catherine: Comment ennumerer les vertus d’une oeuvre d’art n’importe qui pourrait posseder?, Faces, No.9, Spring, pp 29-33. French.

Handy, Ellen: Allan McCollum, Exhibition review John Weber Gallery/ Annina Nosei Gallery. Arts Magazine, Summer 1988, p. 111.

Heartney, Eleanor: Allan McCollum, Exhibition review John Weber Gallery/ Annina Nosei Gallery. Art News, May 1988, pp 164-165.

Smith, Roberta: Allan McCollum, Exhibition review John Weber Gallery. The New York Times, February 19, 1988.

McGill, Douglas C.: Allan McCollum. Repetitive Sculptures, The New York Times, February 26, 1988.

Pelenc, Arielle: La Consommation de l’Art ou l’Art de la Consommation, Artpress, No.128, pp 26-30. French.

Allan McCollum – Portikus, Frankfurt am Main / De Appel, Amsterdam / Verlag der Buchhandlung Walther König Cologne, 1988.

Allan McCollum, Richard Prince, Louise Lawler, Barbara Bloom, Larry Johnson, Galerie Isabella Kacprzak, Stuttgart, 1988

1987

Miller, John: What You See is What You Don’t Get: Allan McCollum’s Surrogates, Perpetual Photos, and Perfect Vehicles, Artscribe, January February 1987, pp 32-36.

Cooke, Lynne: Object Lessons, Artscribe, September/October, 1987, pp 55-60.

Salvioni, Daniela: Interview with McCollum and Koons, Flash Art, December 1986/ January 1987, pp 66-68.

Brooks, Rosetta: Space Fictions, Flash Art, December 1986/January 1987, pp 78-80.

Jones, Ronald: As Though We Knew What To Do, C Magazine, Summer 1987, pp 35-37.

Heartney, Eleanor: Simulationism, Artnews, January 1987, pp 130-137.

Cameron, Dan: New American Art, Art and Design, Vol 3, No.9/10, 1987, pp33-36.

Brooks, Rosetta: Art and It’s Double: a New York Perspective, Flash Art, May 1987, pp 57-72.

Kent, Sarah: Allan McCollum, Art and Language, Review of exhibit at Lisson Gallery. Time Out, May 13, 1987, p. 40.

Brollo, Boris: Allan McCollum, Juliet Art Magazine, October-November, p. 37. Italian.

Griffiths, John: American Art After 1945: Abstrasction to Post-Modernism, Art and Design, Vol.3, No. 9/10, pp. 37-44.

Collins, Tricia, Milazzo, Richard: Radical Consumption and the New Poverty: A Discourse on Irony and Superfluity, New Observations, No. 51, October 1987, pp 7,12-13.

Cameron, Dan: The Art of the Real, Tema Celeste, November 1987, pp 80, 97-98.

Zaunschirm, Thomas, Alexander Puhringer: Neokonzeptionalismus Szene New York, Noema Artmagazine, #11, 1987, p. 18-38. German.

Perfect Vehicles, Spazio Umano/Human Space, January 1987, pp 90-94. Italian.

NY Art Now: The Saatchi Collection, The Saatchi Museum, London. With text by Dan Cameron, London: Giancarlo Politi Editore, 1987.

1986

Fraser, Andrea: Creativity = Capital?, The Institute for Contemporary Art, Philadelphia, Pennsylvania.

Smith, Roberta: Allan McCollum and Laurie Simmons at Nature Morte, Art in America, January 1986, p. 139.

Meinhardt, Johannes: Allan McCollum: Surrogates, Review of exhibition at Kunstausstellungen Guttenbergstrasse 62. Kunstforum, March/April 1986, pp 278-279. German.

Indiana, Gary: Rooted Rhetoric, Review of exhibition at Castel Dell ‘Oro. Flash Art, October/November 1986, pp 83-84.

Jones, Ronald: Six Artists at the End of the Line: Gretchen Bender, Ashley Bickerton, Peter Halley, Louise Lawler, Allan McCollum and Peter Nagy, Arts Magazine, May 1986, pp 49-51.

Rinder, Larry: Laurie Simmons and Allan McCollum: Nature Morte, Flash Art, No. 125.

Collins, Tricia, Milazzo, Richard: Szene New York. Tropical Codes: Allan McCollum: The Blank Spectacle, Kunstforum, June-August 1986, pp 314-416. German.

Biegler, Beth: Surrogates and Stereotypes, Interview with Allan McCollum and Laurie Simmons, East Village Eye, December/January 1986, pp 43, 64.

Jones, Ronald: Damaged Goods, Review of exhibition at The New Museum. Flash Art, October/November 1986, pp 75-76.

Collum, J.W.: Actual Photos: Allan McCollum and Laurie Simmons, Art Papers, January/February 1986, pp 63-64.

Mahoney, Robert: Review at Diane Brown Gallery, Arts Magazine, March 1986, p. 138.

Beyond Boundaries: New York’s New Art, With essays by Peter Halley and Roberta Smith. Jerry Saltz, New York: Alfred van der Marck Editions, 1986.

Foster, Hal. Recoding: Art, Spectacle, Cultural Politics, Bay Press, Seattle, Washington, 1986.

1985

Watson, Gray: Interview with Allan McCollum, Artscribe, December/January 1985-86, pp 65-67.

Morgan, Susan: Allan McCollum and Laurie Simmons, Artscribe, December/January 1985-86, pp 82-83.

Robbins, D.A.: An Interview with Allan McCollum, Arts Magazine, October 1985, pp 40-44.

Collins, Tricia, Milazzo, Richard: Total Effect, Zien Magazine, #8, 1985, pp 21-22.

Owens, Craig: Herhaling and Verschil, The Museum Journal, #10, pp 291-294. Dutch.

Linker, Kate: Reviews: New York, Artforum, January 1985, p. 87.

Staniszewski, Mary Anne: Fixing Prices, Manhattan Inc., December 1985, pp 145-149.

Levin, Kim: Allan McCollum and Laurie Simmons, Village Voice, review, October 22 1985.

Heartney, Eleanor: New York Reviews: Allan McCollum and Laurie Simmons, Artnews, December 1985. p.127.

Durand, Regis: New York Ailleurs et Autrement: Interview with Claude Gintz, Art Press 88, January 1985, pp 20-22. French.

Godfrey, T.: Allan McCollum, Burlington Magazine, December 1985, p. 925.

Wallis, Brian (ed.): Art After Modernism: Rethinking Representation, David Godine, Boston, 1985.

Masheck, Joseph: Smart Art, Series: ‘Point. Art Visual/Visual Arts’, New York: Willis Locker and Owners, 1985.

Milazzo, Richard. Beauty and Critique, Mussman Bruce, New York, 1985.

1984

Lichtenstein, Therese: Reviews: Allan McCollum/James Welling, Arts Magazine, Summer 1984, p. 44.

Lichtenstein, Therese: Allan McCollum and Louise Lawler, Arts Magazine, December 1984, p.34.

Gintz, Claude: Allan McCollum, Ailleurs et Autrement, Musée d’Art Moderne de la Ville de Paris, Paris.

1983

Owens, Craig: Allan McCollum: Repetition and Difference, Art in America, September 1983, pp 130-32.

Lawson, Thomas, Review Marian Goodman Gallery Exhibition, Artforum, March 1983, pp 82-83.

Smith, Valerie, Review Marian Goodman Gallery Exhibit, Flash Art, Summer 1983. p. 65.

McMahon, Paul: From the Permanent Collection, Real Life Magazine, Summer 1983, pp 12-15.

Lawson, Thomas: Reviews: New York, Artforum, September 1983, pp 70-71.

1981

Lawson, Thomas: Further Furniture, Artforum, March 1981, pp 82-83.

1980

Zimmer, Bill: Jenny Snider, Jeff Balsmeyer, Allan McCollum, Silvia Kolbowski, Richard Prince, Review of Artist’s Space exhibition. Soho Weekly News, March 12, 1980. p. 50.

Cornu, Daniel, Review: Galerie Yvon Lambert Exhibition, Art Press, June 1980, p. 35. French.

Bell, Jane, Review of Artist’s Space exhibition, Artnews, September 1980, p. 252.

1979

Masheck, Joseph. Iconicity, Artforum, January 1979, pp 30-41.

1975

Goodman, Judy: Allan McCollum, Arts Magazine, April 1975.

Rosenberg, Harold: Art on the Edge, MacMillan, New York, 1975, p. 209.

1974

Plagens, Peter: Sunshine Muse: Contemporary Art on the West Coast, Praeger, New York, 1974.

1973

Plagens, Peter: From School Painting to a School of Painting in Los Angeles, Art in America, March/April 1973, pp 36-41.

Montgomery, Cara, Review of Allan McCollum at Nicholas Wilder Gallery, Arts Magazine, April, 1973.

1972

Plagens, Peter: The Decline and Rise of Younger Los Angeles Art, Artforum, May 1972, pp 72-81.

1971

Plagens, Peter: Los Angeles: New Painting in Los Angeles, Artforum, October 1971, pp 86-90.

1970

Sharp, Willoughby: New Directions in Southern California Sculpture, Arts Magazine, September 1970 pp 35-38.

Beaulieu, Bob: Artist’s View: Interview With Allan McCollum, The Free Venice BeachHead, November 1970, pp 4-6.

Garver, Thomas, Review. Artforum, December 1970.

texts by Allan McCollum

2008

Harrell Fletcher, interviewed by Allan McCollum, Harrell Fletcher: Where I Lived, and What I Lived For, texts by Miranda July, Allan McCollum, Byron Kim, Jesse Parks Hilliard, Chris Johanson, Harrell Fletcher, and Frederick Paul. Domaine De Kerguehennec. French/ English.

2006

McCollum, Allan: Harrell Fletcher, interviewed by Allan McCollum, BOMB Magazine, Spring Issue, No. 95.

Matt Mullican in Discussion with Allan McCollum, Model Architecture, edited by Stella Rollig, with essay by Stephan Schmidt-Wulffen. Hatje Cantz, Ostfirdern, Germany.

2004

Allan McCollum, studio talk by Allan McCollum, Inside the Studio: Two Decades of Talks with Artists in New York, Judith Olch Richards, editor. Independent Curators International, New York, pp 94-97.

McCollum, Allan: Conversation between Allan McCollum and Roxy Paine, Roxy Paine/Bluff, Public Art Fund, New York City.

2002

Conversation with Andrea Zittel, Andrea Zittel: Diary #01, Tema Celeste Editions, Gabrius Spa, Milan, Italy.

2001

Allen Ruppersberg: What One Loves about Life Are the Things That Fade, Allen Ruppersberg: Books, Inc., Fond Regional D’Art Contemporain du Limousin, France, 2001. French/English.

Matt Mullican’s World, Matt Mullican: More Details from an Imaginary Universe. Book published by Hopefulmonster Editore, Torino, Italy, 2001. Reprint of 1979 essay of same name. Portuguese/ English.

1999

The Drawing Appears, a text on artist Lee Mullican, in Lee Mullican: Selected Drawings, 1945-1980. UCLA Hammer Museum, Los Angeles, 1999.

1989

Abundance and Availability, De Appel, Amsterdam 1989, No. 1, p. 16-19.

1986

Perfect Vehicles, in Damaged Goods: Desire and the Economy of the Object, The New Museum of Contemporary Art, New York. Catalogue with artist statements and texts by Deborah Bershad, Hal Foster, Marcia Tucker, and Brian Wallis.

1985

In the Collection of…, Wedge, Winter/Spring 1985, pp 62-67.

1984

McCollum, Allan: Reciprocal Surveillance, Effects, 1984, p. 7.

McCollum, Allan. New Observations, 1984, p. 8. (Project with Louise Lawler).

1983

False Pictures, Effects, Summer 1983, p. 18.

1980

McCollum, Allan: Matt Mullican’s World, Real Life Magazine, Winter 1980, pp 4-13.

1979

Matt Mullican’s World, Real Life Magazine, Winter 1980, pp 4-13.

1975

Painters Reply, Artforum, September 1975, pp 26-36.