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
0 comments:
Post a Comment