基斯．阿納特1930年生於牛津，是一位觀念藝術家及攝影師。
阿納特曾就讀牛津藝術學校和倫敦皇家藝術學院，其後任教於利物浦藝術學院、曼徹斯特藝術學院，以及格溫特高等教育學院美術系。
1960至70年代，阿納特以概念藝術家身份在各地舉行展覽，通過電影和攝影去記錄演出。1967年開始，他把物件和人物放在自然風景和室內場景中，然後以攝影作記錄，被稱之為「情景」，而他本人及其行為亦逐漸成為作品重要的主體。在《自我埋葬（電視干擾計劃）》(1969)中，阿納特呈現自己逐漸被埋於地下的照片；當影像連續播放時，他就如同被地面吞噬一樣。阿納特說：「作品的原意，是對『藝術品的消失』這說法置評。」作品於1969年在德國科隆WDR電視播出，在沒有作任何解釋的情況下，連續一個星期每晚的電視頻道都被中斷兩秒來播放阿納特的影像。
阿納特受攝影家沃爾克．埃文斯、奧古斯特．桑德和戴安．阿勃斯的啟發，在紀實攝影尚未流行時，已開始探索這形式。初時採用黑白攝影，後來逐漸運用彩色，並從身邊各樣瑣事中尋找題材，從垃圾堆所發現的東西，以至廷特恩修道院的遊客均有。當中最著名的系列之一《來自喬的便條》，就是阿納特拍攝並放大亡妻所寫的家事備忘。作品流露平凡事物中的美、幽默和親密的感覺。
他後期的作品，例如《磚塊》(1990)，都是印在光面紙上的，前景放置物件而背景則漆黑一片。這些作品是一系列普通物件如油漆罐、園藝裝飾品等的大特寫。阿納特雖然充份意識到對物件作如此誘人的描畫，會與廣告類近，但在阿納特的作品裡，這種手法卻代表了「向消費品告別的儀式」。
阿納特雖然沒有正式的畫廊代理，但英國文化協會曾廣泛地在海外巡迴展出他的作品。2007年，他的主要作品回顧展「我是一個真正的攝影師」，在倫敦的攝影家畫廊展出。
阿納特在2008年去世，享年78歲。
Keith Arnatt was a conceptual artist and photographer, born in Oxford in 1930.
He studied at the Oxford School of Art and the Royal College of Art, London and later taught in the Fine Art Department at Liverpool College of Art, Manchester College of Art and Gwent College of Higher Education.
In the 1960s and 70s Arnatt exhibited widely as a conceptual artist, documenting performances in film and photography. In 1967 Arnatt began to make what he called “situations”— involving objects and people situated in landscape and indoor settings which were recorded photographically and in which the artist and his behaviour were increasingly important as subject matter. In Self Burial (Television Interference Project) (1969), Arnatt presented still images of himself gradually being buried further into the ground so that when the images are run in sequence it is as if the earth has swallowed him. He said “It was originally made as a comment upon the notion of ‘the disappearance of the art object’ ”. The project was aired on German television network WDR Television, Cologne in 1969 when, for one week, programming was interrupted without explanation for two seconds every night and the image of Arnatt was broadcast.
Inspired by the photography of Walker Evans, August Sander and Diane Arbus, Arnatt began to explore the documentary photographic form at a time when it was an unfashionable medium. He worked initially in black and white before moving into colour and looking to details in his immediate surroundings for his subjects; these ranged from items unearthed in rubbish dumps to tourists visiting Tintern Abbey. One of his best known series is titled Notes from Jo for which Arnatt photographed and enlarged domestic reminders written by his late wife. Arnatt reveals the beauty, intimacy and humour in these seemingly mundane missives.
His later works, like Brick (1990), were printed on glossy paper with the object to the fore and the background thrown into deep black. The photographs are a series of close-up, large scale images of banal objects including paint tins and garden ornaments. The artist was well aware of the analogy to advertising in this seductive rendition of the subject, but in Arnatt’s work they are “the last rites of consumer goods”.
Arnatt had no formal gallery representation but his photographs were toured extensively overseas by the British Council and a major retrospective exhibition entitled I’m a Real Photographer was shown at The Photographers’ Gallery, London in 2007.
Arnatt died in 2008, aged 78.