This book collects images that New York–based artist Anne Collier (born 1970) originally presented as a slideshow of 80 35mm slides depicting found images of female subjects in the act of taking self-portraits. Dating from the 1970s to the early 2000s, these relics of the analog age were collected by Collier, each image discarded by its original owner but finding its way back to relevance in Collier’s work. The slideshow consists of amateur snapshots of women photographing themselves with film cameras prior to the advent of the digital "selfie." Instead of circulating on social media, these abandoned images once existed for a private audience. The resulting work is steeped in a deep sense of loneliness, illustrating photography’s contentious relationship to memory, loss and self-representation. The book represents a kind of sequel to Collier's 2017 book Women with Cameras (Anonymous).
Featured image is reproduced from 'Anne Collier: Women with Cameras (Self Portrait).'
PRAISE AND REVIEWS
i-D
Ryan White
An engrossing study of our developing relationship with the lens.
in stock $45.00
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FORMAT: Pbk, 10 x 10 in. / 168 pgs / 80 color. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $62 GBP £40.00 ISBN: 9781949172003 PUBLISHER: Karma, New York AVAILABLE: 8/28/2018 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Karma, New York. Text by Lynne Tillman.
This book collects images that New York–based artist Anne Collier (born 1970) originally presented as a slideshow of 80 35mm slides depicting found images of female subjects in the act of taking self-portraits. Dating from the 1970s to the early 2000s, these relics of the analog age were collected by Collier, each image discarded by its original owner but finding its way back to relevance in Collier’s work. The slideshow consists of amateur snapshots of women photographing themselves with film cameras prior to the advent of the digital "selfie." Instead of circulating on social media, these abandoned images once existed for a private audience. The resulting work is steeped in a deep sense of loneliness, illustrating photography’s contentious relationship to memory, loss and self-representation. The book represents a kind of sequel to Collier's 2017 book Women with Cameras (Anonymous).
