Anne Collier
Born 1970, Los Angeles; Lives in New York.
Education
| 2001 | MFA, University of California |
| 1993 | BFA, California Institute of the Arts |
Current & Forthcoming
| 2023 | ‘Unraveling (Are You Out Of Your Mind)’, Institute of Contemporary Art, Miami |
| 2024 | ‘I'm Not Afraid Of Ghosts’, Palazzo Tiepolo Passi, Venice |
Solo Exhibitions
| 2023 | ‘Eye’, Lismore Castle Arts, Lismore |
| Galerie Neu, Berlin | |
| 2021 | Baton Gallery, Seoul |
| ‘Anne Collier’, Anton Kern Gallery, New York | |
| 2020 | The Modern Institute, 3 Aird's Lane, Glasgow |
| Hydra Workshops, Hydra, Greece | |
| 2019 | ‘Anne Collier’, Gladstone Gallery, Brussels |
| ‘Anne Collier’, Galerie Neu, Berlin | |
| ‘Anne Collier Photographic’, Fotomuseum, Winterthur | |
| 2018 | ‘Anne Collier: Photographic’, Sprengel Museum, Hannover |
| ‘Anne Collier’, Anton Kern Gallery, New York | |
| ‘Anne Collier’, FRAC Normandie Rouen | |
| 2017 | The Modern Institute, 14–20 Osborne Street, Glasgow |
| ‘Anne Collier: Women with Cameras (Self Portrait)’, Minneapolis Institute of Art | |
| ‘Women With Cameras (Anonymous), Art Basel Unlimited’, Anton Kern, The Modern Institute, Galerie Neu, Art Basel | |
| 2016 | ‘Women with Cameras’, Rat Hole Gallery, Tokyo |
| Galerie Neu, Berlin | |
| Anton Kern Gallery, New York | |
| 2015 | Art Gallery of Ontario, Toronto, Touring: CCS Bard Hessel Museum of Art, Annandale-on-Hudson, (2014); Museum of Contemporary Art, Chicago (2014); Aspen Art Museum, Aspen (2015) |
| Aspen Art Museum, Aspen, Touring: CCS Bard Hessel Museum of Art, Annandale-on-Hudson, (2014); Museum of Contemporary Art, Chicago (2014); Art Gallery of Ontario, Toronto (2015 - 2016) | |
| 2014 | MCA, Chicago, Touring: CCS Bard Hessel Museum of Art, Annandale-on-Hudson, (2014); Aspen Art Museum, Aspen (2015); Art Gallery of Ontario, Toronto (2015 - 2016) |
| ‘Anne Collier: Women with Cameras’, Studio Voltaire, London | |
| CCS Bard Hessel Museum of Art, Annandale-on-Hudson, Touring: MCA, Chicago (2014-2015); Aspen Art Museum, Aspen (2015); Art Gallery of Ontario, Toronto (2015 - 2016) | |
| The Modern Institute, 3 Aird's Lane, Glasgow (part of Glasgow International 2014) | |
| Hydra Workshops, Hydra, Greece | |
| 2013 | Marc Foxx, Los Angeles |
| 2012 | Anton Kern Gallery, New York |
| ‘High Line Art billboard commission’, The Highline, New York (Presented by Friends of The Highline & Cecilia Alemani New York) | |
| 2011 | Corvi-Mora, London |
| Nottingham Contemporary, Nottingham | |
| 2010 | Anton Kern Gallery, New York |
| ‘Photographic, Anne Collier and Melanie Schiff’, Salina Art Center, Salina | |
| 2009 | Artpace, San Antonio |
| Galerie Giti Nourbaksch, Berlin | |
| 2008 | Anton Kern Gallery, New York |
| Bonner Kunstverein, Bonn | |
| Marc Foxx, Los Angeles | |
| Open Eye Gallery, Liverpool | |
| Presentation House Gallery, Vancouver | |
| 2007 | Corvi-Mora, London |
| 2006 | Vacio 9, Madrid |
| 2005 | Corvi-Mora, London |
| 2004 | Marc Foxx, Los Angeles |
| 2002 | Marc Foxx, Los Angeles |
| 2001 | Marc Foxx, Los Angeles |
| 1998 | Institute of Visual Arts, Milwaukee |
| 1995 | ‘One on One’, Three Day Weekend, Los Angeles |
Group Exhibitions
| 2022 | ‘Common Ground: UCCA 15th Anniversary Patrons Collection Exhibition’, UCCA , Beijing |
| ‘True Pictures?’, Museum der Moderne, Salzburg | |
| ‘TRUE PICTURES?’, Sprengel Museum, Hannover | |
| 2021 | ‘True Pictures?’, Sprengel Museum, Hannover |
| ‘The Greek Garden’, Galerie Praz-Delavallade, Paris | |
| ‘New Time: Art and Feminisms in the 21st Century’, UC Berkeley Art Museum and Pacific Film Archive, Berkeley | |
| ‘The Worlds We Make: Selections from the ICA Collection’, ICA, Boston | |
| Champ Lacombe, Biarritz | |
| ‘The Skin I Live In’, Lyles & King, New York | |
| ‘Tales of Manhattan’, Anton Kern Gallery, New York | |
| ‘Deux scénarios pour Une collection’, FRAC Normandie Rouen | |
| 2020 | ‘Old Technology’, Anton Kern Gallery, New York |
| ‘MY C ART OGRAPHY. The Erling Kagge Collection’, Santander Art Gallery, Madrid | |
| ‘Mourning. On Loss and Change’, Hamburger Kunsthalle, Hamburg | |
| 2019 | ‘Studio Photography: 1887—2019’, Simon Lee Gallery, New York |
| ‘What is an edition, anyway?’, McEvoy Foundation for the Arts, San Francisco | |
| ‘Frederick Weston: Happening’, Gordon Robichaux, New York | |
| ‘Domestic Bliss’, GOMA, Glasgow | |
| ‘Grande Révolution Domestique’, Familistère de Guise, Guise | |
| ‘I will be Dead’, König Galerie, London | |
| 2018 | ‘SALON D'HONNEUR’, Paris Photo Fair, Paris (McEvoy Family Collection curated by Kevin Moore) |
| ‘Maurizo Cattelan: The Artist Is Present’, Yuz Muz Museum, Shanghai | |
| ‘You Are Looking At Something That Never Occurred’, MAMM, Moscow (Zabludowicz Collection) | |
| ‘Role-Playing Rewriting Mythologies’, Daegu Photo Biennale, Daegu (curated by Ami Barak) | |
| ‘This Is Not a Selfie: Photographs from the Audrey and Sydney Irmas Collection’, Museum of Fine Arts, St. Petersburg, Florida | |
| ‘Mad World’, The Marciano Art Foundation, Los Angeles | |
| ‘tears then holes’, Rachel Uffner Gallery, New York | |
| ‘Soft Focus’, Dallas Museum of Art, Dallas | |
| ‘Picture Fiction: Kenneth Josephson and Contemporary Photography’, Museum of Contemporary Art, Chicago | |
| ‘This Is Not a Selfie: Photographs from the Audrey and Sydney Irmas Collection’, Alyce de Roulet Williamson Gallery at ArtCenter College of Design, Pasadena | |
| ‘The Remains of Cinema’, Künstlerhaus, Graz, Austria | |
| ‘Optik Shröder II: Works from the Alexander Schröder Collection’, Mumok, Vienna | |
| ‘Open House’, Jessica Silverman Gallery, San Francisco | |
| Galerie Neue, New York | |
| 2017 | ‘Ritual’, Aspen Art Museum, Aspen |
| ‘aroundabout Jack Jaeger’, Kunstverein Langenhagen, Hanover | |
| ‘Always Someone Asleep and Someone Awake’, Galeries des Galeries, Paris | |
| ‘La mère la mer’, Nion McEvoy Foundation for the Arts, San Francisco, California | |
| ‘Trick Brain’, Aishti Foundation, Lebanon | |
| ‘We Are Everywhere’, Museum of Contemporary Art, Chicago | |
| ‘Woman with a Camera’, MCA Chicago | |
| ‘Street Hassle’, Marlborough Contemporary London, London | |
| ‘Lyric On A Battlefield’, Gladstone Gallery, New York | |
| ‘Unframed 2017 Benefit Auction’, Acria Foundation, New York | |
| ‘Calgon Take Me Away’, Riverview School, Cape Cod, MA (Works from the collection of Martin and Rebecca Eisenberg) | |
| ‘Situation #72: Anne Collier, Women Crying’, Foto Museum, Winterthur, Switzerland | |
| ‘Capture Photography Festival, Inorganic Seductions’, Vancouver, Canada, public billboard installations | |
| ‘You Are Looking At Something That Never Occurred’, Zabludowicz Collection, London | |
| ‘Double Take’, Skarstedt Gallery, London | |
| ‘Point of Departure’, Sala de Arte of Fundación Banco Santander (curated by Magnolia de la Garza and Patrick Charpenel) | |
| ‘WAGSTAFF'S’, Mostyn, Llandudno | |
| ‘A Song for Rio (part 2)’, Galeria Fortes Vilaca, São Paulo | |
| ‘THE GAP BETWEEN THE FRIDGE AND THE COOKER’, The Modern Institute, 3 Aird's Lane, Glasgow | |
| 2016 | ‘A Slow Succession with Many Interruptions’, San Francisco Museum of Modern Art, San Francisco |
| ‘65 WORKS SELECTED BY JAMES WELLING: Exhibition and Sale to Benefit the Foundation for Contemporary Arts’, David Zwirner, New York | |
| ‘A Song for Rio (part 1)’, Galeria Fortes Vilaca, São Paulo | |
| ‘Implosion 20’, Anton Kern Gallery, New York | |
| ‘The Pencil of Culture: 10 Years of Acquisitions at the Centre Pompidou’, Centre Pompidou | |
| ‘grabt tiefer, ihr Schönen’, Galerie Neu, Berlin | |
| ‘Strange Oscillations and Vibrations of Sympathy’, University Galleries of Illinois State University | |
| ‘The Sun Placed in the Abyss’, Columbus Museum of Art, Columbus | |
| ‘First Light: A Decade of Collecting’, ICA, Boston | |
| ‘SYSTEMATICALLY OPEN? New Forms for Contemporary Image Production’, LUMA Arles (Curated by Walead Beshty, Elad Lassry, Zanele Muholi, and Collier Schorr. Exhibition architecture by Philippe Rahm) | |
| ‘What People Do for Money: Some Joint Ventures’, Manifesta 11, Zurich | |
| ‘Manifesta 11’, Zurich | |
| ‘Invisible Adversaries’, CCS Bard Hessel Museum of Art, Annandale-on-Hudson | |
| ‘California and the West: Photography from the Campaign for Art’, SF MoMA, San Francisco | |
| ‘Collected’, Pier 24, San Francisco | |
| Anton Kern/Andrew Kreps, San Francisco | |
| ‘Human Interest: Portraits from the Whitney’s Collection’ | |
| ‘Cher(e)s Ami(e)s’, Centre Pompidou | |
| ‘L’image volée’, Fondazione Prada, Milan (curated by Thomas Demand) | |
| ‘Ordinary Pictures’, Walker Arts Centre, Minneapolis | |
| ‘Stil Life with Fish’, Hammer Museum, Los Angeles | |
| ‘Reflection’, Andrea Rosen Gallery, New York (curated by Philip Martin) | |
| 2015 | ‘Collected by Thea Westreich Wagner and Ethan Wagner’, Whitney Museum of American Art, New York |
| ‘Ugo Rondinone: I ♥ John Giorno’, Palais de Tokyo, Paris | |
| ‘Photo Poetics’, Guggenheim, New York (curated by Jennifer Blessing and Susan Thompson) | |
| ‘Colección Jumex, In Girum Imus Nocte et Consumimur Igni’, Jumex Foundation, Mexico | |
| ‘A Room of One's Own’, Yancey Richardson Gallery, New York | |
| ‘Eye to Eye’, Presentation House Gallery, Vancouver | |
| ‘Popular Images’, KARMA, New York | |
| ‘America is Hard to See’, Whitney Museum of American Art, New York | |
| ‘Still Life Photography Group Show’, The Arts Club, London | |
| ‘City Limit’, The Journal Gallery, New York (curated by Collin Snapp) | |
| ‘Lens work: Celebrating LACMA’s Experimental Photography at 50’, LACMA, Los Angeles | |
| ‘The Coming Museum’, Eugenio de Almeida Foundation, Evora | |
| ‘Games With the Camera / Past Perfect, part of series “Techniques of Release”’, PF Photography Gallery, Poznan | |
| 2014 | ‘BLACKOUT’, Galerie Rodolphe Janssen, Brussels |
| ‘FIERCE CREATIVITY’, Pace Gallery, New York (curated by Chuck Close and Jessica Craig-Martin) | |
| ‘The Thing Itself’, Yancey Richardson Gallery, New York | |
| ‘Somos Libres II: Works from the Mario Testino Collection’, The Pinacoteca Giovanni e Marella Agnelli, Turin (curated by Neville Wakefield) | |
| 2013 | ‘A drawing that illustrates my last show at Meyer Riegger Karlsruhe’, Meyer Riegger, Berlin |
| ‘Une Affaire De Famille’, Musee de la Photographie Charleroi, Charleroi | |
| ‘In the Heart of the Country: The collection of the Museum of Modern Art in Warsaw’ | |
| ‘More Love: Art, Politics, and Sharing since the 1990s’, Ackland Art Museum, The University of North Carolina, Chapel Hill | |
| ‘Summer of Photography’, Carolina Nitsch, New York | |
| ‘The Polaroid Years’, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY | |
| ‘Rien faire et laisser rire. (Do nothing and let them laugh)’, Galerie Rodolphe Janssen, Brussels | |
| ‘Masquerade’, High House Gallery, Clanfield, Oxfordshire, UK | |
| ‘Revolution From Within’, Kaufman Repetto, Milan | |
| ‘Antibody’, Lisa Cooley Gallery, New York | |
| ‘Leonor Antunes, Anne Collier, Amalia Pica, Frances Stark & Jennifer West’, Marc Foxx, Los Angeles | |
| ‘Museum of Modern Art and Western Antiquities Department of Light Recordings, Section IV: Lens Drawing’, Marian Goodman, Paris (curated by Jens Hoffman) | |
| ‘Double Hamburger Deluxe’, Marlborough Chelsea, New York | |
| ‘XOXO & JOSH KLINE’, Night Gallery, Los Angeles | |
| ‘Antigrazioso’, Palais de Tokyo, Paris | |
| ‘Face to Face: The Audrey and Sydney Irmas Collection at LACMA’, Paris Photo Fair, Paris | |
| ‘Alchemical’, Steven Kasher Gallery, New York (curated by Kevin Moore) | |
| ‘Ten Years’, Wallspace Gallery, New York | |
| ‘Revealed’, The Norah and Norman Stone Collection, Calistoga | |
| 2012 | ‘Lost and Found: Anonymous Photography In Reflection’, Ambach & Rice, Los Angeles |
| ‘Spectral Landscape (with Viewing Stations)’, 400 Gallery, Chicago | |
| ‘You Know?’, Altman Siegel Gallery, San Francisco | |
| ‘Real to Real: Photographs from the Traina Collection’, De Young Museum, San Francisco | |
| ‘The Feverish Library’, Freidrich Petzel, New York (organized in cooperation with Matthew Higgs) | |
| ‘Only Parts Of Us Will Ever Touch Parts Of Others’, Galerie Thaddaeus Ropac, Paris (curated by Timothèe Chaillou) | |
| ‘Poule!’, Jumex Foundation, Mexico | |
| ‘Matters of Fact’, Hessel Museum of Art, New York | |
| ‘Blind Cut’, Marlborough Chelsea, New York (curated by Jonah Freeman and Vera Neykov) | |
| ‘Creature From the Blue Lagoon’, Martos Gallery, New York (organized by Bob Nickas) | |
| ‘New Photography 2012’, MOMA, New York | |
| 2011 | ‘Still Life: Between Image and Object’, Lismore Castle Arts, Lismore (Curated by Polly Staple) |
| ‘Anti-Photography’, Focal Point Gallery, Essex | |
| ‘NY: New Perspectives’, Brand New Gallery, Milan | |
| ‘That's The Way We Do It’, Kunsthaus Bregenz, Bregenz | |
| ‘The 2011 Bridgehampton Biennial’, Martos Gallery, New York (curated by Bob Nickas) | |
| ‘Catalogue of the Exhibition’, TRIPLE V, Paris (curated Bob Nickas) | |
| ‘Singular Visions’, Whitney Museum of American Art, New York | |
| ‘No Color in Your Cheeks Unless The Wind Lashes Your Face’, It's Our Playground, Glasgow | |
| ‘4 Women Making Art About Women: Selections from The Collection of Martin And Rebecca Eisenberg’, Eisenberg Family Gallery, Riverview School, New York | |
| ‘Real Simple’, Riverview School, Cape Cod | |
| 2010 | ‘Haunted: Contemporary Photography/Video/Performance’, Guggenheim Museum Bilbao, Bilbao |
| ‘The Page’, Kimmerich, New York (curated by John Stezaker and Matthew Higgs) | |
| ‘BigMinis’, CAPC, Bordeaux | |
| ‘Le Faux Miroir’, Galerie Rodolphe Janssen, Brussels (curated by Bob Nickas) | |
| ‘How Soon Is Now’, Garage Center for Contemporary Culture, Moscow | |
| ‘10000LIVES’, Gwangju Biennale, Gwangju | |
| ‘Mixtapes, Popular Music in Contemporary Art’, Lewis Glucksman Gallery, Cork | |
| ‘Fresh Hell’, Palais de Tokyo, Paris (curated by Adam McEwen) | |
| ‘Collecting Biennials’, Whitney Museum of American Art, New York | |
| ‘The Discovery Award’, Les Recontres D'Arles Photographie, Paris (curated by Tom Eccles) | |
| ‘Haunted: Contemporary Photography/Video/Performance’, Guggenheim, New York | |
| ‘ENDGAME’, SlaughterhouseSpace, Healdsbug | |
| 2009 | ‘The Rustle of Language’, Galleria Francesca Kaufmann, Milan |
| ‘The Secret Life of Objects’, Midway Contemporary Art, Minneapolis | |
| ‘Correspondences curated by Matthew Higgs, Anne Collier, Janice Guy’, Galerie Mezzanin, Vienna | |
| ‘To Be Determined’, Andrew Kreps Gallery, New York | |
| ‘Revolver’, COCO (Contemporary Concerns), Vienna | |
| ‘A Twilight Art’, Harris Lieberman, New York | |
| ‘Cris Brodahl, Brian Calvin, Anne Collier, Brian Fahlstrom, Jason Meadows, Carter Mull, Sterling Ruby, Mateo Tannatt’, Marc Foxx, Los Angeles | |
| ‘The Secret Life of Objects’, Midway Contemporary Art, Minneapolis | |
| ‘Copy’, White Columns, New York | |
| ‘An Autobiography of the San Francisco Bay Area’, San Francisco | |
| ‘The Living and the Dead’, Gavin Brown's enterprise, New York | |
| 2008 | ‘Records Played Backwards’, The Modern Institute/Toby Webster Ltd, Glasgow (curated by Daniel Baumann) |
| ‘Unknown Pleasures’, Aspen Art Museum, Aspen | |
| ‘Legende’, Centre d'art contemporain, Chamarande | |
| ‘Dispersion’, Institute of Contemporary Art, London | |
| ‘New High in Getting Low’, John Connelly Presents, New York | |
| Marc Foxx, Los Angeles | |
| ‘Schatten werfen keine Schatten’, Meyer Riegger Galerie, Karlsruhe | |
| ‘Sphinxx’, Stuart Shave/Modern Art, London | |
| ‘Friends and Family’, Anton Kern Gallery, New York | |
| ‘Signs of The Time’, Whitney Museum of American Art, New York | |
| 2007 | ‘I Am Eyebeam’, 400 Gallery, Chicago (curated by Melanie Schiff and Lorelei Stewart) |
| ‘Extra-Ordinary: The Everyday Object in American Art. Selections from the Whitney Museum of American Art’, Austin Museum of Art, Austin, Texas | |
| ‘Der Droste Effekt’, Esther Schipper, Berlin | |
| ‘Beneath the Underdog’, Gagosian, New York | |
| ‘People Take Pictures of Each Other’, LaMontagne Gallery, Boston (curated by Bob Nickas) | |
| ‘Strange Magic’, Luhring Augustine, New York | |
| ‘Anything You Want’, Pumphouse Gallery, London | |
| ‘Mario Testino: At Home’, Yvon Lambert Gallery, New York (curated by Mario Testino) | |
| ‘Neointegrity’, Derek Eller Gallery, New York | |
| ‘Last Attraction Next Exit’, Max Wigram Gallery, London (curated by Neville Wakefield) | |
| ‘Two Years: Aquisitions for the Permanent Collection’, Whitney Museum of American Art, New York | |
| 2006 | ‘Just Off Focus’, Andrew Kreps Gallery, New York |
| ‘Anne Collier, Dominique Gonzalez-Foerster, Roger Hiorns, Colter Jacobsen’, Corvi-Mora, London | |
| ‘Fountains’, D'Amelio Terras, New York | |
| ‘Refract’, Marc Foxx, Los Angeles | |
| ‘Good Vibrations: Visual Arts and Rock Culture’, Palazzo delle Pappesse, Siena | |
| ‘Mid-Life Crisis’, Salander-O'Reilly, New York | |
| ‘Peter Coffin, Anne Collier, Eileen Quinlan’, United Artists Ltd, Marfa | |
| ‘Strange Powers’, Creative Time, New York | |
| ‘Writing in Strobe’, Dicksmith Gallery, London (curated by Andrew Hunt) | |
| ‘Slow Burn’, Galerie Edward Mitterrand, Paris (curated by Jonah Freeman) | |
| ‘Axis of Praxis’, Midway Contemporary Art, Minneapolis | |
| ‘The Rhubarb Society’, Tracey Lawrence Gallery, Vancouver | |
| ‘Whitney Biennial: Day for Night’, Whitney Museum of American Art, New York (curated by Chrissie Iles and Philippe Vergne) | |
| 2005 | ‘Always Crashing in the Same Car’, Gallerie Susanne Ottensen, Copenhagen |
| ‘Bonds of Love’, John Connelly Presents, New York (curated by Lisa Kirk) | |
| ‘Gallery Artists Summer Group Show’, Marc Foxx, Los Angeles | |
| ‘Bridge Freezes Before Road’, Barbara Gladstone Gallery, New York (curated by Neville Wakefield) | |
| ‘Drunk vs. Stoned 2’, Gavin Brown's enterprise, New York | |
| ‘in words and pictures’, Murray Guy, New York | |
| ‘Greater New York’, P.S.1 Contemporary Art Center, Long Island City | |
| ‘The Early Show’, White Columns, New York | |
| 2004 | ‘Likeness: Portraits of Artists by Other Artists’, CCA Wattis Institute, San Francisco |
| ‘Three Day Weekend’, Central Park, New York (in collaboration with Whitney Biennial, curated by Dave Muller) | |
| ‘Land of the Free’, Jack Hanley Gallery, Los Angeles | |
| Jack Hanley Gallery, San Francisco | |
| ‘Eye Spy’, Museum of Contemporary Art, San Diego | |
| ‘Let the Bullshit Run a Marathon’, Nicole Klagsbrun Gallery, New York (curated by Nate Lowman) | |
| 2003 | ‘17 Reasons’, Jack Hanley Gallery, San Francisco (curated by Kate Fowle and Jack Hanley) |
| ‘Portraiture’, Karyn Lovegrove Gallery, Los Angeles | |
| ‘for nobody knows himself if he is only himself and not another at the same time’, Marc Foxx, Los Angeles | |
| ‘summer show’, Marc Foxx, Los Angeles | |
| ‘Makeshift World’, Stephen Wirtz Gallery, San Francisco | |
| 2002 | ‘Group Show’, Marc Foxx, Los Angeles |
| ‘Bay Area Now III’, Yerba Buena Center for the Arts, San Francisco | |
| ‘A Show That Will Show That a Show Is Not Only a Show’, The Project, Los Angeles (curated by Jens Hoffman) | |
| 2001 | ‘I Want More’, Temple Bar Gallery, Dublin |
| New Wight Art Gallery, UCLA, Los Angeles | |
| Marc Foxx, Los Angeles | |
| 2000 | ‘Summer Group Show’, Goldman Tevis, Los Angeles |
| 1996 | ‘Eros Travel Company’, Studio Neuwirth, Vienna |
| ‘Striking Distance’ (curated Andrea Bowers (Internet exhibition)) | |
| 1995 | ‘Dave's Not Here’, Three Day Weekend, Los Angeles |
| 1994 | ‘Summer Group Show’, Three Day Weekend, Los Angeles |
| ‘Thanks!’, Three Day Weekend, Los Angeles | |
| 1992 | ‘Art Dogs’, George's, Los Angeles |
Group Screenings
| 1992 | ‘L.A.C.E.’ (video screening of Los Angeles video artists, Los Angeles) |
Curatorial Projects
| 2022 | ‘Photographic Pictures’, Anton Kern Gallery, New York |
Bibliography
Press
| 2023 | Ravi Ghosh: ‘Anne Collier at Lismore Castle Arts: More than meets the eye’, British Journal of Photography, 04/04/2023 |
| 2020 | Roelandt, Els: ‘It’s No Use Crying’, Texte zur Kunst, 03/2020 |
| 2019 | Kito Nedo: ‘Kühle Träne‒, Süddeutsche Zeitun, 10/2019 |
| Lorina Speder: ‘Weine, wenn du kannst, COMIC-FRAUEN von Anne Collier’, Der Tagesspiegel, 10/2019 | |
| Rachel Syme: ‘The Glamorous Cry Is Having a Moment....’, Vanity Fair, 08/08/2019 | |
| ‘Anne Collier’, Aperture, 04/2019 | |
| ‘Berlin Art Week: The Highlights 2019. – Anne Collier at Galerie Neu’, Vogue Germany, 2019 | |
| ‘Studio Photography: 1887-2019’, British Journal of Photography, 2019 | |
| 2018 | Davies, Dean Mayo : ‘This Exhibition is Your Chance to Own Unique Work by Celebrated Artists’, Another Man, 29/11/2018 |
| Dayal Mira: ‘Previews - Anne Collier: Photographic’, Artforum, Vol. 57. No. 1 09/2018 | |
| DIANA HAMILTON: ‘Anne Collier: Reducing Women To Tears’, Frieze, 09/05/2018 | |
| Cascone, Sarah: ‘Editor’s Pick: 12 Things to See in New York This Week’, artnet news, 07/05/2018 | |
| Scott, Andrea K.: ‘A Decade Long Hunt for Images of Crying Women’, The New Yorker, 06/05/2018 | |
| ‘Our Top picks for April 11-24’, Time Out New York, 05/2018 | |
| ‘Spring Gallery Guide: Cultivating a Tightknit Scene’, The New York Times, 27/04/2018 | |
| ‘Anne Collier’, Time Out New York, 09/04/2018 | |
| Cascone, Sarah: ‘Editors’ Picks 14 Things to See in New York This Week’, artnet news, 09/04/2018 | |
| ‘Anne Collier: See Women Crying’, Libération Magazine, 03/2018 | |
| Baud, Véronique: ‘Frac Normandie Rouen: In the eyes of Anne Collier’, Paris Normandie, 30/01/2018 | |
| ‘5 to See: This Weekend’, Aesthetica, 12/01/2018 | |
| Wheeler, André-Naquian: ‘this artist collected hundred of images of female strangers taking photos’, Vice: i-D Magazine, 01/2018 | |
| Martha Schwendener: ‘10 Galleries to Visit Now on the Upper East Side’, The New York Times, 2018 | |
| ‘Anne Collier’, Time Out New York, 2018 | |
| Hatt, Étienne: ‘ANNE COLLIER femme photographe’, artpress, 2018 | |
| ‘ANNE COLLIER Revue De Presse’, FRAC Normandie Rouen , 2018 | |
| ‘Anton Kern Through May 19’, The New York Times, 2018 | |
| ‘Best Free Art Exhibitions in NYC’, Time Out New York, 2018 | |
| Wilson, Michael: ‘Critic’s Pick: New York: Anne Collier’, Artforum, 2018 | |
| Emma Coyle: ‘Exhibition Review: Strength in Anne Collier’s Tears’, Musée, 2018 | |
| Wampler, Zack: ‘Eye of the Beholder’, PROVOKR, 2018 | |
| ‘Galleries – Uptown: Anne Collier’, The New Yorker, 2018 | |
| ‘In Parallel: Creative Exchange: Anne Collier & Raf Simmons’, Dior Magazine, 2018 | |
| ‘Portfolio by Anne Collier: Circulating Selves and Images’, Bomb Magazine, 2018 | |
| Von Henning Queren: ‘Träen, Fotos und Tradition: Sprengel Museum zeigt USKüsterlin Anne Collier’, Kultur, 2018 | |
| ‘Visiting Beth Rudin DeWoody and Firooz Zahedi at Home Is Better Than a Trip to a Museum’, Architectural Digest, 2018 | |
| 2017 | Gemma Padley: ‘Show Me Your (Staged) Emotions’, Elephant Magazine, 11/2017 |
| Alhadeff, Sophia: ‘Museum Monthly: Anne Collier at The Minneapolis Institute of Art’, The Mac Weekly, 10/2017 | |
| Rivera, Erica: ‘Women With Cameras’ at MIA reflects on selfies from a pre-Instagram era, City Pages (Twin Cities), 07/09/2017 | |
| Peloquin, Jahna: ‘Get Out Guide: Art & Heritage’, Southwest Journal, 07/09/2017 | |
| Haas, Lidija: ‘Artful Volumes’, Bookforum, 09/2017 | |
| Sibbald, Laura: ‘The Artist Using Found Imagery to Sidestep the Male Gaze’, AnOther, 07/07/2017 | |
| Smith, Roberta: ‘What to See in New York Art Galleries This Week.’, The New York Times, 07/2017 | |
| Rigg, Natalie: ‘At Zabludowicz Collection, artists test the parameters between authenticity and artifice’, Wallpaper*, 22/04/2017 | |
| Meier, Anika: ‘Bonbonfarbene Emanzipation’, Goethe Intitut Digital Kunste , 04/2017 | |
| Preuss, Meredith: ‘Double Take: An Interview with Anne Collier’, Capture Photo Festival Magazine , 19/03/2017 | |
| ‘Remake remodel: the art of appropriation – in pictures.’, The Guardian, 07/03/2017 | |
| ‘Openings & Exhibitions: March 2017’, curatingthecontemporary, 28/02/2017 | |
| ‘Anne Collier’, Hotshoe Magazine, 198 2017 | |
| ‘Coleddion Isabel y Augustin Coppel: PUNTO DE PARTIDA’, Fundacion Banco Santander, pp. 74-75 2017 | |
| Bronstein, Nora : ‘Images of Images: Notes on Anne Collier and Kotama Bouabane’s Photo Practices’, Afterimage, 44 2017 | |
| 2016 | Muñoz-Alonso, Lorena & Perlson, Hili: ‘ArtNet’s Top European Exhibitions of 2016’, artnet, 23/12/2016 |
| Anne Collier: The Artists’ Artists, Artforum International, 12/2016 | |
| Schwendener, Martha, Smith, Roberta, Heinrich, Will & Rosenberg, Karen : ‘What To See in New York Art Galleries This Week: Implosion 20 @ Anton Kern’, New York Times, 17/11/2016 | |
| Lowry, Vicky: ‘Collected Wisdom’, Architectural Digest, vol. 73 no. 12 02/11/2016 | |
| Poostchi-Pattenden, Becky: ‘An All-Female Curation of Frieze New York by Olympia Scarry’, AnOther, 05/05/2016 | |
| ‘Anne Collier’, The New Yorker, 05/2016 | |
| Michalska, Julia: ‘Big in Berlin: four trends spotted at Gallery Weekend’, The Art Newspaper, 05/2016 | |
| Reichert, Kolja: ‘Das Modell funktioniert bestens’, Frankfurter Allgemeine Zeitung, 30/04/2016 | |
| ‘Gallery Weekend Returns to Berlin for its 12th Edition’, Blouin Artinfo, 27/04/2016 | |
| Laster, Paul: ‘Weekend Edition: 11 Things to Do in New York’s Art World Before April 11’, The New York Observer, 07/04/2016 | |
| Lorch, Von Catrin: ‘Bin ich richtig?’, Frankfurter Allgemeine Zeitung, 04/2016 | |
| Rojas, Laurie. : ‘Five to see during Berlin Gallery Weekend’, The Art Newspaper, 04/2016 | |
| Von Ingeborg, Ruth & Berner, Irmgard : ‘Mit allen Sinnen’, Frankfurter Allgemeine Zeitung, 04/2016 | |
| Travers, Andrew: ‘Judith Scott retrospective leads three new shows at Aspen Art Museum’, The Aspen Times, 17/03/2016 | |
| Dafoe, Taylor: ‘Photo-Poetics: An Anthology’, The Brooklyn Rail, 04/03/2016 | |
| Brazilian, Alexa: ‘The Nature of Things’, T: The New York Times Style Magazine, 03/2016 | |
| Shaw, Anny: ‘Fashion designer Erdem collaborates with Sotheby’s on first ‘curated’ sale in London’, The Art Newspaper, 02/2016 | |
| Schwabsky, Barry: ‘Point First, Shoot Later’, The Nation, 21/01/2016 | |
| ‘Galleries-Downtown’, The New Yorker, 01/2016 | |
| Koestenbaum, Wayne: ‘On My Masculinity’, Artforum, vol. 54, no.10 2016 | |
| Linden, Liz: ‘Reframing Pictures: Reading the Art of Appropriation’, Art Journal , 2016 | |
| Gavin, Francesca: ‘We Can Work It Out’, Twin Magazine, 15 2016 | |
| 2014 | Dillon, Brian: ‘Anne Collier’, Artforum, Vol. 53 09/2014 |
| ‘Viewfinder: Woman with a Camera (2009) by Anne Collier’, The Daily Telegraph, 22/03/2014 | |
| Linnert, Nicolas: ‘Anne Collier’, Camera Austria, No.127 2014 | |
| Sawyer, Drew: ‘Woman with a Camera’, Document Journal, No. 5 2014 | |
| 2013 | ‘Highlights from the Highline’, Elle, 21/11/2013 |
| Finkel, Jori: ‘An Artist Whose Medium Really Is the Message’, New York Times, 02/11/2013 | |
| Jaeger, Anne-Celine: ‘Reporting from Frieze: Eight Exciting Discoveries at the Contemporary Art Fair’, Time, 23/10/2013 | |
| Beck, Martin: ‘Forum’, Camera Austria, 123 09/2013 | |
| Smith, Roberta: ‘Art in Review: 10 Years’, New York Times, 26/07/2013 | |
| Wolff, Rachel: ‘50 Under 50: The Next Most Collectible Artsts’, Art + Auction, 06/2013 | |
| Woodward, Richard: ‘The SX-70 as Sexy Tech’, Wall Street Journal, 06/05/2013 | |
| Holmes, Pernilla: ‘Thinking Outside The Box’, Financial Times, 304 04/05/2013 | |
| Schwendener, Martha: ‘Instant Photographs, Lasting Images’, New York Times, 28/04/2013 | |
| Menegoi, Simone: Critics’ Picks, Artforum Online, 19/03/2013 | |
| 2012 | Gopnik, Blake: ‘Appropriation, In The Flesh’, The Daily Beast, 12/12/2012 |
| Johnson, Ken: ‘Eyeing the Lens With Suspicion’, The New York Times, 30/11/2012 | |
| Aletti, Vince: Critic‘s Notebook: Photo Sensitive, The New Yorker, 22/10/2012 | |
| ‘New Photography 2012’, The New Yorker, 02/10/2012 | |
| Critics’ Picks, Time Out New York, 27/09/2012 | |
| Wilson, Michael: ‘Anne Collier’, Time Out New York, 858 03/05/2012 | |
| ‘Going On About Town: Anne Collier’, The New Yorker, 30/04/2012 | |
| Rosenberg, Karen: ‘Anne Collier’, The New York Times, 27/04/2012 | |
| Bollen, Christopher: ‘Anne Collier’, Interview Magazine, 04/2012 | |
| ‘New Work: Photographs by Anne Collier’, Modern Painters, 04/2012 | |
| Firestone, Lonnie: ‘High Art’, New York Press, 11/02/2012 | |
| 2011 | Deller, Jeremy: ‘Best of 2011: Part 3’, Frieze Blog, 24/12/2011 |
| Stewart, Christabel and Ajay RS Hothi: Nature‘s Way, Tank, 5 30/11/2011 | |
| Freyberg, Annabel: ‘Victorian Secret’, World of Interiors, 11/2011 | |
| Doubal, Rosalie: ‘Anne Collier’, Time Out London, 10/10/2011 | |
| Rosenberg, Karen: ‘All Nooks, Crannies, Bedrooms and Trees Are Backdrops for Art’, New York Times, 08/08/2011 | |
| Vogel, Carol: Blockbuster Growth in the Met‘s Attendance Figures, New York Times, 22/07/2011 | |
| ‘Art Photographers to Watch’, Ten Magazine, No. 38 2011 | |
| ‘The New Pop: Female Art Photographers Now’, Pop, 2011 | |
| Collier, Anne: ‘Woman With a Camera’, Spike Art Quarterly, 2011 | |
| 2010 | ‘The Power 100 with Artwork by Anne Collier’, Art Review, 45 11/2010 |
| Lobel, Michael: ‘Scale Models, Michael Lobel on Laurie Simmons and Anne Collier’, Artforum, 10/2010 | |
| Fox, Dan: ‘Pictures of You’, Frieze, 05/2010 | |
| Smith, Roberta: ‘In The Fields of Art, Snapping Photos’, New York Times, 04/2010 | |
| Tagliafierro, Marco: ‘The Rustle of Language’, Artforum, 03/2010 | |
| ‘Anne Collier’, The New Yorker, 15/02/2010 | |
| Wilson, Michael: ‘Anne Collier’, Time Out New York, 11/02/2010 | |
| Nathan, Emily: An ‘I’ On You, ArtSlant, 24/01/2010 | |
| Nikas, Bob: ‘Looking Forward 2010’, Frieze, 128 01/2010 | |
| Collier, Anne: ‘Art/T.J. Wilcox’, Bomb Magazine, 2010 | |
| McDonough, Tom: ‘In Between: Tom McDonough in conversation with Anne Collier’, Fantom, 04 2010 | |
| ‘Special Project’, Nero, No. 24 2010 | |
| ‘The Sea Series’, Fantom, Issue 05 2010 | |
| 2009 | Parrott, Skye: ‘20 Questions, A Project By Matthew Higgs’, Dossier, No. 5 30/11/2009 |
| Gleizes, Serge: ‘Style AD’, Architectural Digest, 09/2009 | |
| Schwendener, Martha: ‘Matthew Higgs’, New Yorker, 02/2009 | |
| Verwoert, Jan: ‘Anne Collier’, Flash Art, 01/2009 | |
| Tramposch, Emma: ‘File Under: Monographs’, Camerawork, Vol. 26, Issue 02 2009 | |
| Bauman, Daniel: ‘Getting Controlled and Lose’, Spike Magazine, 2009 | |
| 2008 | Lange, Christy: ‘All that is solid melts into air: Report from Los Angeles’, Frieze Blog, 17/12/2008 |
| Walleston, Aimee: ‘Anne Collier’, The Last Magazine, 01 10/2008 | |
| di Angelo, Flaccavento: ‘Modern Take on Collecting’, L'Uomo Vogue, 07/2008 | |
| ‘Anne Collier’, Blind Spot, 37 04/2008 | |
| Charlesworth, J.J.: ‘Anne Collier’, Art Review, 19 02/2008 | |
| Sumpter, Helen: ‘Anne Collier’, Time Out New York, 01/2008 | |
| ‘Cut Copy’, V magazine, 56 2008 | |
| Waldemar, Noe: ‘Double Marilyn’, Mister Motley, Number 17 2008 | |
| Stewart, Christabel: ‘Girl on film’, Tank, Volume 5, Issue 03 2008 | |
| 2007 | Smith, Roberta: ‘CIRCA 70’, New York Times, 13/07/2007 |
| Curiger, Bice: ‘Emerging Artists’, Frieze, 104 01/2007 | |
| Brzezinski, Kathleen: ‘Art of Melancholy’, Anthem Magazine, Number 31 2007 | |
| Bolland, Mark: ‘Some Complex Visual Codes’, Source, 53 2007 | |
| 2006 | ‘Shape Shifters’, Men's Vogue, 11/2006 |
| Leung, Cynthia: ‘Anne Collier’, Tokion, 09/2006 | |
| Sholis, Brian: ‘Mid Drift’, Artforum Online, 10/03/2006 | |
| Dillon, Brian: ‘Anne Collier: Photographs, LPs, Abstraction, Humour and Melancholy’, Frieze, 97 03/2006 | |
| ‘Insert: Anne Collier’, Parkett, Number 78 2006 | |
| 2005 | Cotter, Holland: ‘Fanciful to Figurative to Wryly Inscrutable’, New York Times, 07/2005 |
| Slimane, Hedi: ‘Portfolio du designer Hedi Slimane, qui nous fait partager ses coups de couers artistiques’, Jalouse, 04/2005 | |
| Saltz, Jerry: ‘Lesser New YorkL P.S. 1 and MoMA want the wildness of youth but then immediately try to tame it’, Village Voice, 27/03/2005 | |
| 2004 | LaFuente, Pablo: ‘The Faces of the Future’, Art Review, 10/2004 |
| 2002 | Valentine, Christina: ‘Anne Collier’, Flash Art, 12/2002 |
| Ollman, Leah: ‘Exploring Metamorphosis and Ephemerality’, Los Angeles Times, 27/09/2002 | |
| Young, Paul: ‘Touchy Subjects’, Angeleno, 2002 |
Exhibition Reviews
| 2023 | Sabine Kriebel: ‘EYE, Anne Collier’, Source, 01/07/2023 |
| Kitty Grady: ‘For Anne Collier, the eyes definetely have it’, Apollo Magazine, 23/06/2023 | |
| 2022 | Fateman, Johanna: ‘"Photographic Pictures’, The New Yorker, 2022 |
| 2020 | Throne, Harry: ‘Anne Collier at Galerie Neu’, Artforum, 01/2020 |
| 2019 | Bernardi, Giulia: ‘Besprechung’, Kunstbulletin, 04/2019 |
| Heim, Christoph: ‘Frozen Feelings’, Tages- Anzeiger, 12/03/2019 | |
| Heim, Cristoph: ‘Gefrorene Gefühle’, Tages- Anzeiger, 06/03/2019 | |
| 2018 | Hamilton, Diana: ‘Anne Collier’, Frieze, 196 06/2018 |
| Peare, Colm: ‘Anne Collier @ The Modern Institute’, The Skinny, 01/02/2018 | |
| 2017 | Clark, Robert: ‘Opening this week: Anne Collier’, Guardian Guide, 11/11/2017 |
| Alhadeff, Sophia: ‘Museum Monthly: Anne Collier at The Minneapolis Institute of Art’, The Mac Weekly, 10/2017 | |
| 2016 | Tran, John L: ‘Collier reviews the power of observation’, The Japan Times, 20/12/2016 |
| Johnson, Ken: ‘Chelsea Galleries, Like a Box of Chocolates’, New York Times, 21/04/2016 | |
| Atallah, Lara: Critics’ Picks: Anne Collier, Artforum, 04/2016 | |
| ‘Galleries–Chelsea: Anne Collier’, The New Yorker, 16/03/2016 | |
| 2014 | McDonough, Tom: ‘Anne Collier’, Artforum, 11/2014 |
| Grabner, Michelle: Critic‘s Picks: Anne Collier, Artforum Online, 08/2014 | |
| Morton, Tom: ‘Glasgow International 2014’, Frieze, 06/2014 | |
| Bowles, Rachel: ‘Anne Collier at The Modern Institute’, The Skinny, 28/04/2014 | |
| Didcock, Barry: ‘Contrast and compare’, The Herald, 19/04/2014 | |
| Gavin, Francesca: ‘The Glasgow International Festival Proves its Continuing Relevance’, Artsy, 14/04/2014 | |
| Clark, Robert: ‘Glasgow International’, Guardian Guide, 05/04/2014 | |
| Long, Declan: ‘Images Unfixed’, The Source, 2014 | |
| 2011 | Curtin, Brian: Critic‘s Picks: Still Life, Artforum Online, 20/07/2011 |
| Herbert, Martin: ‘Still Life’, Art Monthly, 07/2011 | |
| ‘Reviews/Exhibitions: Jack Goldstein, Nottingham Contemporary’, Art Monthly, 03/2011 | |
| 2010 | Patrick, Martin: ‘Haunted: Contemporary Photograohy/Video/Performance’, Art Monthly, 10/09/2010 |
| Hodgson, Francis: ‘Arles Photography Festival’, Financial Times, 07/2010 | |
| Demuth, Gary: ‘Photography Exhibition’, Salina Journal, 05/2010 | |
| Sholis, Brian: ‘Anne Collier’, Artforum, 04/2010 | |
| ‘Anne Collier’, New Yorker, 15/02/2010 | |
| Robinson, Walter: ‘A Weekend Update’, artnet, 02/2010 | |
| 2009 | Bennett, Steve: ‘New Works Push the Envelope at Artspace’, San Antonio Express News, 08/2009 |
| Fisch, Sarah: It‘s Not You, It‘s Me, San Antonio Current, 22/07/2009 | |
| ‘Artspace New Works’, San Antonio Current, 15/07/2009 | |
| Gillig, Melanie: ‘Dispersion’, Artforum, 04/2009 | |
| Andress, Sarah: ‘Dispersion’ at the ICA, Flash Art, 03/2009 | |
| ‘To Be Determined’, The New Yorker, 03/2009 | |
| Schwendener, Martha: Paul Graham and Harris Lieberman‘s ‘A Twilight Art’ Confront the Future, Village Voice, 18/02/2009 | |
| Lowenstein, Kate: ‘To Be Determined’, Time Out New York, 15/02/2009 | |
| Flexer, Gabrielle: ‘Dispersion’, a-n Magazine, 01/2009 | |
| 2008 | Campbell-Johnston, Rachel: ‘Cut, paste and get the close-up’, The Times, 12/12/2008 |
| Darwent, Charles: ‘Dispersion, ICA, London’, The Independent, 12/2008 | |
| Aletti, Vince: ‘Anne Collier at Anton Kern’, New Yorker, 25/02/2008 | |
| Doran, Anne: ‘Anne Collier at Anton Kern’, Time Out New York, 20/02/2008 | |
| Saltz, Jerry: ‘Anne Collier at Anton Kern’, New York Magazine, 02/2008 | |
| Fritzsche, Mathias: ‘Aneignung einer Ikone’, Kunstler, 2008 | |
| Akalin, Ann-Kathrin: ‘Das Auge als Spiegel der Seele’, General-Anzeiger Online, 2008 | |
| ‘Der Bonner Kunstverein macht keine Sommerpause’, Mensa Magazine, 2008 | |
| 2007 | Akalin, Ann-Kathrin: ‘Ein Kunstler-Trio stellt im Kunstverein aus’, General-Anzeiger Online, 30/11/2007 |
| Rosenberg, Karen: ‘Strange Magic’, New York Magazine, 23/07/2007 | |
| Pollack, Barbara: ‘Strange Magic’, Time Out New York, 07/2007 | |
| Smith, Roberta: ‘Strange Magic’, New York Times, 07/2007 | |
| 2006 | Smith, Roberta: ‘Strange Powers’, New York Times, 09/2006 |
| ‘Strange Powers’, Time Out New York, 31/08/2006 | |
| Griffin, Jonathan: ‘Writing in Strobe’, Frieze, 06/2006 | |
| Charlesworth, J.J.: ‘Writing in Strobe’, Art Monthly, 28/05/2006 | |
| Saltz, Jerry: ‘Biennial in Babylon’, Village Voice, 03/2006 | |
| 2005 | Jones, Kirsten M.: ‘Bridge Freezes Before Road’, Frieze, 10/2005 |
| Connor-Greene, Rachel: ‘Reviews: Bonds of Love’, Time Out New York, 15/09/2005 | |
| Johnson, Ken: ‘Art in Review: Bonds of Love’, New York Times, 09/2005 | |
| ‘Bonds of Love’, New Yorker, 09/2005 | |
| Smith, Roberta: ‘Drunk v. Stoned 2: Along the Blurry Line Between Blotto and Buzzed’, New York Times, 26/08/2005 | |
| Clem, Chivas: ‘Bridge Freezes Before Road’, Time Out New York, 08/2005 | |
| Yablonsky, Linda: ‘Bridge Line’, Artforum Online, 27/06/2005 | |
| 2004 | Miles, Christopher: ‘Anne Collier at Marc Foxx’, Artforum, 12/2004 |
| 2002 | Helfand, Glen: ‘Bay Area Now 3 returns to the fountain’, San Francisco Bay Guardian, 27/11/2002 |
| Wood, Sura: ‘Bay Area Now 3: A Showcase of Local Talent’, San Francisco Art Monthly, 11/2002 | |
| Baker, Kenneth: ‘Bay Area Now 3’ show peeks into artists’ inner worlds, San Francisco Chronicle, 30/10/2002 |
Publications
| 2023 | Eye, Lismore Castle Arts, Lismore |
| 2021 | New Time: Art & Feminisms in the 21st Century, University of California, Berkeley Art Museum, Berkeley |
| 2020 | Looking at Photography, Damiani, Bologna |
| 2018 | How We See: Photobooks by Women, 10x10 Photobooks, New York |
| Collier, Anne: Photographic, Sprengel Museum, Fotomuseum Winterthur, Stuttgart: Hartman Books | |
| Women With Cameras (Self-Portrait), Karma, New York | |
| 2017 | The Trick Brain, Aishti Foundation & Skira editore, Lebanon |
| What Remains, Skreid, Stockholm | |
| Women With Cameras (Anonymous), Karma, New York and Studio Voltaire, London | |
| You Are Looking at Something That Never Occurred, Zabudowicz Collection, London | |
| 2016 | Women Crying, Hassla Books, New York |
| 2015 | Blessings, Jennifer: Photo-Poetics: An Anthology, Guggenheim Museum Publications, New York |
| 2014 | Collier, Anne: Anne Collier, Museum of Contemporary Art Chicago (MCA), Chicago |
| Collier, Anne: Still Lifes, Wood Kusaka Studios, Los Angeles | |
| The Art of Collaboration, San Antonio: Hare & Hound Press, Artspace, and Linda Pace Foundation | |
| 2013 | Alchemical, Steven Kasher Gallery, New York |
| IV: Lens Drawing, Marian Goodman Gallery, Paris | |
| Museum of Modern Art and Western Antiquities Department of Light Recordings, MOMA, New York | |
| Revealed, Stonescape, Calistoga, Norah and Norman Stone Collection | |
| Rien faire et laisser rire. (Do nothing and let them laugh), Galerie Rodolphe Janssen, Brussels | |
| The Polaroid Years: Instant Photography and Experimentation, DelMonico books, Prestel | |
| 2012 | Collier, Anne: Anne Collier, Anton Kern Gallery, New York |
| Poule!, Fundación/Colección Jumex, Ecatepec | |
| Seuls quelques fragments de nous tourcheront quelques fragments d’autrui (Only parts of us will ever touch parts of others), Galerie Thaddaeus Ropac, Paris/Salzburg | |
| 2011 | The 2011 Bridgehampton Biennial, Martos Gallery, New York |
| 2010 | An Autobiography of the San Francisco Bay Area, Part 1: San Francisco Plays Itself and Part 2: The Future Lasts Forever, SF Camerawork, San Francisco |
| Creamier- Contemporary Art in Culture: 10 Curators, 100 Contemporary Artists, 10 Sources, Phaidon Press, London/ New York | |
| DreamWorks, Artspace, San Antonio | |
| 2009 | Bussel, David: Looking at Display, Images of Contemporary Art in London Galleries, Rachmainoff's, London |
| Collier, Anne: Woman With A Camera, Hassla Books, New York | |
| 2008 | Anne Collier, Presentation House Gallery, Vancouver |
| 2006 | Good Vibrations: Visual Arts and Rock Culture, Palazzo delle Papesse Centro Arte Contemporanea, Siena |
Exhibition Publications
| 2010 | 1000 Lives Gwangju Biennale 2010, Gwangju Biennale Foundation, Gwangju |
| Fresh Hell/Carte Blanche a Adam McEwen, Palais de Tokyo, Paris | |
| HauntedL Contemporary Photography/Video/Performance, Guggenheim Museum Publications, New York | |
| 2008 | Dispersion, ICA, London |
| 2004 | Likeness: Portraits of Artists by Other Artists, CCA Wattis Institute, San Francisco |
| Writing in Strobe, Dicksmith Gallery, London | |
| 2002 | Bay Area Now 3, Yerba Buena Center for the Arts, San Francisco |