exhibitions
Allan McCollum
Artists
- Allan McCollum
- Joanne Adell
- Manuel Aguilar
- Mary Alexson
- Maricela Alvarado
- Francisco Arias
- Artist unknown
- Douglas Bliven
- Milton Brummett
- S.V. Bunnell
- JosZ Castillo
- Kate Palese
- Carlos Coronado
- Enrique de la Cruz
- Opal Eshelman
- Jorge Estrada
- RubZn Garc’a Benavides
- Rosa Mar’a Gaxiola
- Ruth Hern‡ndez Ortiz
- Shelley Lannan
- Gary Liggett
- Celia L—pez Arguilez
- Bella Mancilla de Silva
- Jordan Mora
- Julio I. Morales
- Rodrigo Mu–oz Kate Palese
- Rogelio PZrez Cano
- CuauhtZmoc Rodr’guez Pi–a
- Antonio Rodr’guez Tapia
- Julio Ru’z
- Ginger Ryerson
- Austreberto Silva
- Tom Spradling
- Anastasia Vellas
- Patrick Waters
- Marvin Wieben
- Anita Williams
Special Events
Friday, October 20, 2001
Reception for the Artists
About the Exhibition
Dinosaur tracks in the roofs of Utah coal mines, fulgurites* from central Florida, a dogOs form captured in the hardened ash of PompeiiNall have been subjects of Allan McCollumOs work, and vehicles for his investigation of the phenomenon by which objects, including artworks, acquire meaning. Born in Los Angeles in 1944 and currently living in New York City, McCollum is interested in the process that bestows value on "things," both natural and manmade. His current project, commissioned by inSITE2000, extends his study of an objectOs accumulation of meaning to include a communityOs construction of its public identity. McCollum suggests that the way an artist develops meaning in his or her artwork parallels the procedure by which individuals and groups establish communal significance. At the same time, an artist seeking recognition by curators, collectors, dealers, critics and viewers is seen by McCollum as participating in the same quest as a community striving to project a winning image to the society-at-large.
McCollumOs joint examination of the ways in which both objects and communities accrue cultural importance was pursued in the Imperial Valley/Valle de Mexicali, an expansive desert region east of San Diego County and spanning the U.S./Mexico border. The artist was drawn to this area for two reasons. First, he was inspired by the strange geological formations, known as sand spikes, found at the base of Mount Signal/El Centinela, a prominent feature of the areaOs landscape that itself straddles the international boundary line. Thousands of these ancient sand spikes were formed as concretionsNgrains of sand cemented together with crystalline calciteNand lay together at the foot of the mountain, pointing westward, until they were excessively collected throughout the 20th century. Today the sand spikes can only be found in museums and private collections.
The second allure of the desert valley for McCollum was the youth of its towns and cities. The regionOs burgeoning municipalities, such as Brawley, Calexico, Calipatria, El Centro, Heber, Holtville, Imperial, Mexicali, Niland, Seeley and Westmorland, were established in the early 20th century, coincident with a major irrigation project that brought water to the desert. Because these relatively new communities are still in the process of developing their identity, McCollum perceived an opportunity to contribute, in some small way, to the regionOs formation of its cultural iconography through collaboration with the individuals, institutions and businesses that inhabit the Imperial Valley/Valle de Mexicali.
The result of McCollumOs collaborative involvement with the valleyOs residents was the organization of three exhibitions that focused on the sand spikes of Mount Signal/El Centinela. Through these exhibitions, presented concurrently at three area institutions in October 2000, the artist conjoined his simultaneous exploration of the evolution of meaning in artworks, natural objects and communities. Signs of Mount Signal at the Steppling Art Gallery, San Diego State UniversityNImperial Valley Campus; The Return of the Sand Spikes at the Imperial County Historical Society Pioneers Museum; and El Cerro del Imposible at the Museo Universitario, Universidad Aut—noma de Baja California each featured a variety of art and artifacts related to the region and assembled through a concerted community effort.
For the exhibitions, McCollum played a dual role as curator and artist. He invited local artists in the Imperial Valley/Valle de Mexicali to exhibit drawings, paintings and photographs appropriate to the exhibitionsO theme; he included regional memorabilia, area postcards, and logos from valley businesses and institutions; and he featured actual sand spikes from his and othersO collections. In addition, McCollum produced and displayed over one thousand replicas of a sand spike from the Pioneers Museum collection and an equal number of small models of Mount Signal/El Centinela. He also oversaw the construction and installation of a sixteen-foot version of the sand spike and a large model of the mountain. Lastly, McCollum created a set of sixteen informational booklets that were derived from historical and scientific articles on sand spikes and the mountain
McCollum has combined the three exhibitions at the University Art Gallery. This culminating presentation celebrates the Imperial Valley/Valle de Mexicali communityOs affection for its local mountain and raises awareness of the community itself in people from outside the area. Importantly, the sand spike and mountain replicas, created to function as souvenirs for the region, are intended to promote the natural and cultural features of the valley for years to come. And after its appearance in San Diego, the large sand spike will be permanently installed as an outdoor, site-specific sculpture and "roadside attraction" on the grounds of the Pioneers Museum. Through his complex project, McCollum has created memorials to the valleyOs geological past, while participating as an interested outsider in the ongoing development of its residentsO collective identity.
* A fulgurite is a glass-like tube produced by the fusion of loose sand or rock by lightning.
Tina Yapelli, Director, University Art Gallery
Allan McCollum: Signs of the Imperial Valley is sponsored in part by inSITE2000; the School of Art. Design and Art History; the College of Professional Studies and Fine Arts; and the fund for Instructionally Related Activities. Additional support is provided by the San Diego State University Art Council.