Annette Kelm’s conceptually inclined photographs draw on the visual language of advertising. Made within the historically strict framework of still life, landscape, and portrait photography, her staged color photographs acknowledge “photography’s collusion with consumerism, capitalism, and history,” writes the New York Times. Like the work of artists Christopher Williams and Roe Ethridge, who are also influenced by the Düsseldorf School, her clearly composed images isolate functional objects from their surroundings, breaking them down into formal components of shape and color.