Installation Views

Akg 2012 annecollier 2 1400 0x0x3000x2000 q85Akg 2012 annecollier 3 1400 0x0x3000x2000 q85Akg 2012 annecollier 4 1400 0x0x3000x2000 q85Akg 2012 annecollier 5 1400 0x7x3000x1999 q85Akg 2012 annecollier 6 1400 0x0x3000x2000 q85Akg 2012 annecollier 7a 1400 0x0x3000x2000 q85Akg 2012 annecollier 8 1400 0x0x3000x2000 q85Akg 2012 annecollier 9a 1400 0x0x3000x2000 q85Akg 2012 annecollier 10 1400 0x0x3000x2000 q85
View More ImagesView Less Images


Ak8956 col frenchstilllife 1 postcard e 1400 49x308x710x474 q85Ak8946 col openbook8 prints 1400 0x98x3000x2002 q85Ak8962 col italianstilllife 1 postcard 1400 162x928x2101x1400 q85Ak8949 col may1968 playboy 1400 0x531x2416x1613 q85Ak8947 col book johnrawlings 1400 0x26x3000x2002 q85Ak8944 col endpapers 1 nudelandscapes 1400 0x183x3000x2004 q85Ak8960 col germanstilllife 1 postcard e 1400 52x309x697x465 q85Ak8948 col flipchart1 drugs e 1400 54x271x722x482 q85Ak8965 col caravaggiobynikon 1400 150x804x2070x1381 q85Ak8966 col clouds 1400 0x131x3000x2004 q85Ak8968 col womanwithcameras1 1400 0x163x3000x2004 q85Ak8638 col veterans day nudes 1972 appointment calendar the museum of modern art new york edward weston 1400 0x53x1008x674 q85

Press Release

April 5 –
May 12, 2012

March 21, 2012, New York—In her third solo show at Anton Kern Gallery, New York-based artist Anne Collier presents a body of recent photographs that amplifies her continuing investigation into questions of perception and representation, the nature and culture of photographic images, and the mechanics of the gaze. Negotiating autobiography, nostalgia, and various manifestations of pop-melancholia, Collierʼs work considers the tensions between her employment of an almost forensic photographic objectivity and the often highly subjective and emotive content she typically focuses on.


Collierʼs photographs invariably depict existing objects that incorporate photographic imagery: e.g. images of open books, calendars, postcards, or album and magazine covers. Often focusing on sexualized images of women, posing with or without cameras, close-ups of the human body, and recurring images of the eye, Collier does not necessarily consider her resulting images as a form of appropriation, rather she thinks of them as a form of still-life photography, making reference to both technical and commercial (advertising) photography. Collier shoots these found and second-hand objects in the context of the studio, with its cracked grey floor and white painted walls clearly visible. There is little or no artifice at work in these images. The lighting is invariably clear and neutral, the exception being a subtly yet dramatically staged group of European still-life postcards from the late 1960s and early 1970s that each incorporate photographic equipment in their gender-specific tableaux. In all Collierʼs works, at first view, emotions appear to be withheld, where the photographs seemingly echo earlier approaches to photo-conceptualism in both style and emotional detachment, presenting the object of investigation as if ready for analysis and deconstruction. However, something quite different comes to light in these richly toned and large color prints.


Exploring the seductive – and often clichéd - nature of photographic imagery, Collierʼs photographs come across as images of rare and evocative finds. They open themselves to the viewer emotionally. Working with discarded objects, which typically include evidence of their previous lives, Collier refocuses our attention towards possible new readings. Working around the casual, yet blatant sexism at play in the photographic milieu of the 1970s and 1980s Collier recharges these often-contentious images through their representation and recontextualization. In turn Collierʼs work provokes obscured, improbable and sometimes unintended meanings. Through the activity of researching, collecting, re-staging and re-photographing, Collier reformulates original intent, re-distributes meaning and ultimately imbues her subjects with a form of aesthetic and emotional character that is uniquely her own.

Read MoreRead Less