"William Eggleston, Memphis (Tricycle)', 1970. ""...Homely objects had a long tradition of being photographed— [but] Eggleston's tricycle is different. It's at once beneath homeliness yet oddly exalted. One way Eggleston achieves this effect is obvious: he shoots the tricycle from a low angle. It looms large in the imagination because it looms large, period. Looking heavenward, Eggleston's camera bestows on that tricycle the majesty—and ineffability—of an archangel's throne:"""
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