Rodney Quiriconi
Untitled
1966-67
mahogany with mirrored glass panes and brass fittings
6 1/2 x 6 1/2 x 2 1/2 inches
Rodney Quiriconi
Untitled
c. 1966
rosewood with mirrored glass panes, and brass fittings
16 3/4 x 17 x 2 1/2 inches
Rodney Quiriconi
Untitled
c.1964
rosewood with glass panes, steel ball steel rods, and brass fittings
9 x 9 x 9 inches
Rodney Quiriconi
Untitled
c. 1964
mahogany with steel ball, shaped brass rods, glass panes, and brass fittings
6 1/2 x 6 1/2 x 6 1/2 inches
Rodney Quiriconi
The Silence
1965
rosewood with mirrored glass panes and brass fittings
5 x 5 x 5 inches
Rodney Quiriconi
The Silence (detail)
1965
rosewood with mirrored glass panes and brass fittings
5 x 5 x 5 inches
Rodney Quiriconi
Untitled
c.1965
mahogany with mirrored glass panes, cotton, and brass fittings
24 x 2 1/2 x 1 inches
Rodney Quiriconi
Untitled
c.1960s
wooden cigar box with mahogany framing and mirrored glass panes
6 1/2 x 6 1/2 x 2 1/2 inches
Rodney Quiriconi
Untitled
1963
mahogany with rosewood framing, metal rings and rods, painted cork ball, glass pane, and brass fittings
7 1/2 x 6 1/4 x 3 1/2 inches
Rodney Quiriconi
Untitled
c. 1965
rosewood with mirrored glass panes, steel ball, brass rods and fittings
3 1/2 x 3 1/2 x 2 inches
Rodney Quiriconi
Silent Column
c. 1966
mahogany with mirrored glass panes, and brass fittings
21 x 5 x 3 1/4 inches
Rodney Quiriconi
Portrait
c.1964
mahogany with glass panes, steel ball, steel rod, glass ring, and brass fittings
5 1/2 x 5 1/4 x 3 3/4 inches
Rodney Quiriconi
No. IV
c.1966
mahogany with mirrored glass panes, brass fittings
10 1/4 x 2 x 1 1/2 inches
Installation view
Exhibition Catalog:
PRESS RELEASE
Rodney Quiriconi (b. Chicago, 1933) was well known in Chicago in the 1960s and ‘70s. One of the only artists of the era to have drawn extensively on Minimalism, Quiriconi was neighbors with H.C. Westermann, whose use of rare woods directly influenced him. At the outset of the 1960s, he was working as a painter, but gradually moved into making intricate, exquisitely crafted box constructions, using metal, glass, wood, and mirror. The earliest boxes were relatives of Joseph Cornell’s, with similar roots in a Surrealist collage sensibility, but deeper into the 1960s they became more stripped down and experimental.
Over the years, Quiriconi was associated with several legendary Chicago galleries, including Dell and Phyllis Kind, and he participated in numerous exhibitions at the Hyde Park Art Center. This is the first solo presentation of a group of his vintage works in over thirty years.
A full-color, 16-page catalog, with an essay by John Corbett, accompanies the exhibition.