This exhibition catalog was published on the occasion Anne Collier’s third solo show at the Anton Kern Gallery in the spring of 2012. Collier?s photographs invariably depict existing objects that incorporate photographic imagery: e.g. images of open books, calendars, postcards, or album and magazine covers. She also investigates sexualized images of women either whole or in parts, including full-body pin-ups with cameras, a portrait of Cindy Sherman in L'Uomo Vogue, and close-ups of a woman’s eye. Collier does not join the Richard Prince school in calling these works “re-appropriation.” She instead thinks of her work as a form of still-life photography which reflects back on its viewer. Collier shoots these found and second-hand objects in the studio, displaying its cracked grey floor and white painted walls as well as its characteristically neutral lighting. There is little or no artifice at work in these images. In all Collier?s works, at first view, emotions appear to be withheld, where the photographs seem to ask merely for analysis and comparison. However, Collier smartly highlights the personalities of her discarded objects, allowing cracked spines, Post-it notes, and faded covers to imbue her still-lifes with emotional history and meaning.