Allan McCollum Perfect Vehicles (in five parts) 1986 acrylic and enamel on cast Hydro-Stone® with wooden base each: 21 x 10 x 10 in. (53.3 x 25.4 x 25.4 cm) Each signed and dated "Allan McCollum 1986" and numbered consecutively on the underside.
Provenance Richard Kuhlenschmidt Gallery, Los Angeles Sale: Phillips de Pury & Company, New York, Contemporary Art Part II, May 16, 2008, lot 381 Acquired at the above sale by the present owner Catalogue Essay In a seamless and conceptual exploration, Allan McCollum examines the correlation of art to archaeology, observing the way in which a simple form can make a journey from an object to an icon. Through Perfect Vehicles, a series of jars which were first unveiled in the early 1980s, McCollum presents and represents an iconic sculptural form in order for his audience to investigate and challenge the preconceived and traditional notions of a culturally recognized object. All the Perfect Vehicles are rendered in the same shape, that of a Chinese ginger jar, with a wide mouth, a domed lid and a bulging, spherical body. The present lot, Perfect Vehicles (in five parts), 1986, is from his earliest series, in which the jars were rendered just over a foot tall. In 1998, he rescaled them to gigantic proportions, reaching nearly seven feet tall, which were famously exhibited later in 2004 near Central Park in New York City. Each element of the present lot, and from the series at large, is painted in a thickly applied hue of commercially available paint. In addition to slathering the surface in a common substance, the lids of the jars are not removable, eliminating the typical use of the object. McCollum’s Perfect Vehicles conflate the values of cultural history and consumer accessibility. They may appear in both the Asian Wing of the Metropolitan Museum of Art, or at a storefront of a candy shop. It is this ambiguity that has made this series so critically and aesthetically acclaimed, having been exhibited in both galleries, on the steps of museums, and in 1988 throughout the interior of the Arsenale of the Venice Biennale. In explaining the series, McCollum has said they serve “as an homage to the idea of one thing standing for another.” McCollum’s Perfect Vehicles are a celebration of the way we look for meaning and value in all the objects which surround us, and then use them as vehicles to express our own ideas. Read More
Allan McCollum Perfect Vehicles (in five parts) 1986 acrylic and enamel on cast Hydro-Stone® with wooden base each: 21 x 10 x 10 in. (53.3 x 25.4 x 25.4 cm) Each signed and dated "Allan McCollum 1986" and numbered consecutively on the underside.
Provenance Richard Kuhlenschmidt Gallery, Los Angeles Sale: Phillips de Pury & Company, New York, Contemporary Art Part II, May 16, 2008, lot 381 Acquired at the above sale by the present owner Catalogue Essay In a seamless and conceptual exploration, Allan McCollum examines the correlation of art to archaeology, observing the way in which a simple form can make a journey from an object to an icon. Through Perfect Vehicles, a series of jars which were first unveiled in the early 1980s, McCollum presents and represents an iconic sculptural form in order for his audience to investigate and challenge the preconceived and traditional notions of a culturally recognized object. All the Perfect Vehicles are rendered in the same shape, that of a Chinese ginger jar, with a wide mouth, a domed lid and a bulging, spherical body. The present lot, Perfect Vehicles (in five parts), 1986, is from his earliest series, in which the jars were rendered just over a foot tall. In 1998, he rescaled them to gigantic proportions, reaching nearly seven feet tall, which were famously exhibited later in 2004 near Central Park in New York City. Each element of the present lot, and from the series at large, is painted in a thickly applied hue of commercially available paint. In addition to slathering the surface in a common substance, the lids of the jars are not removable, eliminating the typical use of the object. McCollum’s Perfect Vehicles conflate the values of cultural history and consumer accessibility. They may appear in both the Asian Wing of the Metropolitan Museum of Art, or at a storefront of a candy shop. It is this ambiguity that has made this series so critically and aesthetically acclaimed, having been exhibited in both galleries, on the steps of museums, and in 1988 throughout the interior of the Arsenale of the Venice Biennale. In explaining the series, McCollum has said they serve “as an homage to the idea of one thing standing for another.” McCollum’s Perfect Vehicles are a celebration of the way we look for meaning and value in all the objects which surround us, and then use them as vehicles to express our own ideas. Read More
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