Introduction:
Anne Collier puts across still photography with such precision and thought that it makes viewers interpret the intention in several layers. Her techniques are not just unique but also employ such intelligence that it can connect with every observer at a different level. Her black and white photography creatively portray her strong sense of feminism and her keen interest in the mass media. She has photographed everyday objects, nude women against a white or black backdrop or arranged on a black floor with a white wall making every shot arise curiosity in the viewer.
Born in Los Angeles in 1970, Anne graduated with a BFA from the California Institute of Arts in 1993 and also has a MFA from UCLA in 2001. (University of California, Los Angeles). Residing in New York City, her works have been showcased at several notable exhibitions.
Anne Collier’s application to white and black photography is different. Her white or black backgrounds make her photographs appear serene and minimalist. The frail backdrops with discarded photos and items don’t fail to make a bold impact on the viewer. The pictures appear to be conversing with a visual language with messages and concerns expressed skilfully. Collier’s obsession with found objects mark the center of her works. However, her experimentation is not limited to such techniques. Collier’s usual photography covers still and discarded objects such as calendars, old magazine covers, cover photos of albums and cover photos especially of the pop culture where women are objectified to attract the audience and tempt them to pick the same from the shelf. Even though women get more attention in Collier’s works, she has captured several men too. Jack Nicholson in Folded Jack Nicholson Poster (One Flew Over the Cuckoo’s Nest) (2007) and Untitled (This Charming Man) (2009) are few examples to be quoted here. Not to forget the Veterans Day pictures which included pictures used to mark the appointment calendar by the Museum of Modern Art which had the photograph of the renowned Edward Weston’s son’s torso captured in it. the same was originally taken in 1925 and was used by Collier in 1972.
Some of her solo exhibitions include:
Works:
Folded Madonna Poster (Steven Meisel), 2007
This photo belongs to the “Woman with a Camera” series (Diptych), 2006, which displayed the female subjects used for advertisements and product selling. The initial picture was discovered by Collier on the streets of New York which was then photographed by her. The photo is set against a white wall and has folds that brings out a strong message by the photographer. Collier tries to explain what happens with the hot-shot magazine covers once they are dealt with and become obsolete. It also displays Collier’s love with the pop culture which made her shoot several other photographs based on similar lines. Her other works such as Mouth, Nude Landscapes (Arnie Hedin, Hedin 2011) are examples where she focuses on sexual objectification through her lens. Collier tries to put across the worth of the old photographs by capturing the same with her photography. Even though most of her works have a feminist angle she also tries to put across subtle messages with every photo. The Woman with a Camera” series in itself traces the use of women in mass media. Collier reshoots the pages, photos, record album covers to rediscover this entire scenario.
Anne Collier, Casette Tape
This photo taken of a cassette tape with the tape completely pulled out from the plastic case appears more like a question seeking an answer. The snap captured again with a white background with the tape colour contrasting and challenging the white is appealing. This photo is yet another signature style of Anne Collier. The fact that she photographs still, used and thrown objects which also bring out her concern is the hallmark and acts as a distinguishing factor to her photography. Collier isn’t creating a complete scenario for her photos. Her snaps are glimpses of lost valuable times pictured in monochromes allowing the viewer to think of those moments which are gone and done. Her photos give a glimpse of disposable memories that the viewer has lived at one point in time or the other.
Anne Collier, Cut (Color), 2009
This is another popular piece of Collier. The black background has captured the expressive eyes of the artist itself. The photo keeps in front of the viewer the exploited means of simple representation. It also shows the fact that the photo is just another disposable item which nobody will look at twice. The photo was used to represent Salvador Dali's iconic film Un Chien Andalou and won the appreciation of the critics. The photo shows an image of the eye that is cut wrongly intentionally or unintentionally with a paper cutter. It appears that the snap is trapped leading to deeper interpretations. Collier’s photos capture the older photographs as an item and her experiment with monochromes has definitely earned her a safe place amongst her peers. Her focus to photograph photos that have some history makes a statement of her own. Though her photography does not include traditional black and white techniques, her monochromes signify her thought process. The “Woman with a camera” series covers the eyes, the emotions attached with the process of photography in itself. There is a search in Collier’s to understand the male gaze that reflects in every photograph. It also makes the viewer understand and question the old means of media and advertising. The photographing the photo concept explains the procedures applied in the olden times where filters were not a choice or an option.
Developing Tray #2, 2012
With minimalist customisation this picture of the artist herself has a developing tray with snap that capture an open wide eye. The picture set against a black backdrop highlights the grey tray with a picture that is being developed. Collier’s emphasis on choosing to show the world the photographic process with an interesting and monochrome approach. The photo also made it as a hoarding that simply states the fact as to how important Collier’s work is. Her photos are straight with a depth to be discovered by the viewer. Her another work Zoom which was published in 1978 with a nude woman holding a camera where the face itself is a camera earned her some credit. The photo tried to be state several facts to the male clients. The identity of the woman holding the camera was disguised as the camera itself. Similarly every work of Collier is well thought of and carefully planned. Her every photograph chosen to be shot has its own significance.
Anne Collier, Negative (California), 2013
This is another picture where Collier is capturing the process of photography adding it to be her signature style again. It is interesting to observe how the whole procedure of photography intrigued the interest of Collier compelling her to express it to the viewer with the help of a camera. It can be observed how the camera in itself becomes an object of her photography.
Untitled (This Charming Man) (2009)
This is an epic instance where Collier once again captures the cover of The Smiths’ record ‘This Charming Man’ (1983) which portrays the French actor Jean Marais. The original photo depicts the love of the actor with his own reflection and his own set of desires. Collier has set this snap against the usual white wall and a grey floor bringing a black and white effect to the picture. The subtle cracks on the floor leading to the picture cannot be missed. Even though the photo looks bland in the first instance it reminds the viewers how insignificant the magazine and album covers become with time.
Conclusion:
Anne Collier’s work offers a deep perception and a challenging aptitude to the viewer. Even though her experiment with black and white monochromes provide simplistic and clinical views to the audience they also project the use of mass media marketing and obsolete objects that question the general beliefs of the society. Her works are feministic inclined where she depicts the objectification of women to attract the male audience. Her every piece is well-thought and carefully executed. But beyond shooting the still-life photographs of discarded items such as covers, pages, calendars, and her idea of shooting the easily disposable snaps makes her style unique.
Reference page:
“Anne Collier”. AGO. n. pag. n. d. Web.
“Anne Collier”. Moma. n. pag. n. d. Web.
Fox, Dana. “Pictures of You”. Frieze, 131, n. pag. Web. May 2010.
Yerebakan, O. C. “Anne Collier at CCS Bard Galleries Through September 21st, 2014”. Annandale-on-Hudson. N. pag. Web. 29 August 2014.
Whyte, Murray. “Photographing photographs, to impart new meaning”. Ourwindsor.ca. n. pag. n. d. Web. 05 October 2015.
