Plaster Surrogates

Allan McCollum

Plaster Surrogates


enamel on plaster

23,5 x 161,5 x 2,5 cm

mfc-michèle didier


+33 (0)1 71 27 34 41

Price upon request

More Information

In the beginning a proposal was made. To paint over the already painted. To cover­up plaster and enamel. To re­apply colour so that the substitute for the frame, the mounting board and what seems to have once been an image all disappear only to better resurface, to become surface again.
So, in the beginning there was a proposal. Made by Claude Rutault to Allan McCollum. To paint over the ​Collection of Plaster Surrogates by Allan McCollum in the same colour as the wall where it hangs.

This first painterly gesture which Rutault executed over a work by McCollum was to be completed by two more actions in the course of the preliminary exchanges between the artists. These procedures inverse the initial concept wherein one work is superimposed upon the other. The first consists of a pile of primed canvases which serve as a pedestal for Allan McCollum’s Collection of Four Perfect Vehicles. ​The second action follows the same procedure yet differs in two ways ­ this time the canvases are unprimed raw linen and the work which sits atop them is Collection of Three Natural Copies from the Coal Mines of Central Utah (​1994­ - 1995).

The proposal can therefore be summarized as follows : Claude Rutault on Allan McCollum then Allan McCollum on Claude Rutault. But in reality it’s much more than just a proposal; we are actually dealing with a new form of Claude Rutault’s 
d​éfinitions/méthodes,​ a term used by the artist to designate the texts which establish the “existence conditions” of his works.