The clear and frontal photograph has been widely used to give direct access of its referent to the viewer, rendering any distraction of pictorial conventions trivial. However, this definition of a ‘straight’ photograph is often challenged when pictures that are about photography itself use this construct.
In certain pictures, William Henry Fox Talbot’s Window at Lacock Abbey, Jeff Wall’s Picture for Women, and any of Hiroshi Sugimoto’s cinema screens, there is a clear discourse with the picture itself rather than subject matter alone. These pictures have a strong self-reflexive element that is fixed with a ubiquitous form of photographic objectivity.
Matthew Lindsey’s recent work is concerned with how this type of singular diagrammatic photograph constitutes a form of meta-photography. To investigate the medium being used is to attempt to understand photography itself.