Untitled
Allan McCollum's *Untitled* is a unique screenprint executed in colors with glitter across eight sheets of Arches paper, each backed by Roll Rives paper as originally issued. The work reflects McCollum's longstanding investigation into mass production, seriality, and the nature of uniqueness, as the multi-sheet format and shimmering glitter surface simultaneously suggest both multiplicity and singular distinction. The use of high-quality printmaking materials underscores the tension between fine art tradition and McCollum's conceptual questioning of originality and value.
- Medium
- Unique screenprint in colors with glitter, on eight sheets of Arches paper backed by Roll Rives paper (as issued), the full sheet.
- Dimensions
- Signed
- Yes
- Location
- Phillips, Salt Lake City, UT
- Spotted At
- Auction House · PhillipsView on map
Notes
Literature: Cirrus Editions p. 304
🔨 Auction Lot
Editions & Works on Paper: Online Auction
February 2, 2026
Estimate: $1,500 to $2,500
Sold: $1,290
Lot 215
Artists in conversation
Felix Gonzalez-Torres
American (Cuban-born) · b. 1957
Gonzalez-Torres similarly explored the tension between multiplicity and singularity through serialized, reproducible works that carry conceptual weight about uniqueness and mass production. His use of shimmering, light-reflective materials like candy spills and light strings parallels McCollum's glitter surface in creating sensory distinction within a conceptual framework.
Wade Guyton
American · b. 1972
Guyton's work interrogates printmaking and mechanical reproduction through repeated geometric forms across multiple panels, directly mirroring McCollum's investigation into seriality and the nature of the unique object. His multi-panel printed works on fine paper share both the material quality and the conceptual tension between industrial process and singular artistic distinction.
Sherrie Levine
American · b. 1947
Levine's conceptual practice consistently questions originality, uniqueness, and the logic of serial reproduction through minimalist and geometric visual strategies that closely align with McCollum's concerns in this screenprint. Her use of high quality fine art materials alongside appropriated or repeated imagery creates the same productive friction between craft and concept visible in this work.
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