I generally like Anne Collier’s work, but man, this show feels like way too little work in way too big a space. The show makes it pretty clear there is even less progression in Collier’s work than I would ever have thought. The photographs in no way justify a show of this size. I was initially excited at the idea of a large museum-quality show for an artist who might not get that attention in a big art mecca like New York. That is exactly what regional art museums should be doing. And I was all the more excited that it was a living photographer. Hell, I even made a detour to see the show on my way to Woodstock. I thought her last show at Anton Kern was pretty spot-on. So I was very bummed to find that there wasn’t much in the way of new work. Seeing all of the photographs in a couple of rooms makes it pretty clear how much she needs to stop taking pictures of books and other vernacular images very quickly or she risks becoming predictable and repetitive. On the upside, when I got to Woodstock, I saw a store window with a postcard for the show right next to a postcard for a Michael Williams talk. Williams is the founder of the Photo-Sensualis movement (or dudes who photograph naked ladies), so the store inadvertently made the best Collier piece I saw all day.
Through Sept. 1st