Gelatin silver print
Image: 7.6 x 10.1 cm (3 x 4 in.); Paper: 7.6 x 10.1 cm (3 x 4 in.)
Gift of Michael Mattis and Judith Hochberg 2017.310
Edward Quigley’s abstract still lifes were radically experimental in 1930s America. Though abstracted through cropping, the bicycle is rendered whole—and therefore functional—by the shadow behind it. In its insistence on function, lyricism, and beauty, could Still Life be Quigley’s response to Marcel Duchamp’s 1913 ironic, provocative Bicycle Wheel sculpture?
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