Ed Ruscha’s photoseries Twenty-six Gas Stations (1963) was an important early example of photography’s contribution to conceptual art and post-modernism.
While probably not a direct pastiche of the Bechers work, which was coming to prominence at the same time, the deliberate lack of aesthetic value was certainly an attempt at undermining modernism’s claim to be both objective/deadpan and aesthetic. Further, Ruscha’s work highlights the uncomfortable connection between conventional fine art photography and the ubiquity of amateur snaps.
In my attempt to ally aesthetic interest and objective analysis, I am also trying to reference post-modernism’s questioning of the validity of such an approach by means of the narrowness of my project and its connection with the clichéd autumn colour picture.
Matthew Greenburgh is an artist who focuses on still life work with strong aesthetic and symbolic components.