Anne Collier is an unusual type of photographer in the sense that she takes photographs of existing photographs. Largely, of famous women role models, Marilyn Monroe, of course, amongst a few lesser known feminine starlets of the past. Yet it’s not as straight forward or as unimaginative as it sounds. Collier holds her images quite literally at arms length, working with not just the image itself but with the background on which it appears: a frame, magazine, book, poster, a blank wall or textured surface. It has a distancing effect and totally readjusts our perspectives of well known work (reminiscent of Fiona Banner’s curated exhibition at the Whitechapel Gallery here in London). A lot of her work, unsurprisingly, focuses on the “gaze”, forcing the viewer to reassess the way we view not just images but advertisements and people themselves. This naturally plays into the interesting and ever going debates surrounding female objectification and sexualisation. Taken out of their commercial context, what do these images mean and how should we view them?
Photographing the Photographic Image: Anne Collier