Its the original Fiat 500. The installation piece by Lorenzo Quinn features an almost 13 foot high child’s hand and forearm. Like a toddler giant Nephilim playing with a toy.The work alludes to the relationship between parents and their children and represents the independence and freedom Quinn felt when he bought his first car.
”After being displayed in Abu Dhabi and Valencia, Spain, the sculpture has now been installed on Park Lane, a swanky stretch of road in central London characterized by a number of five-star hotels and high-end automobile dealerships. This certainly ought to put things into perspective for the next noble gentleman shopping for a new motor car.” Read More: http://www.autoblog.com/2011/01/25/lorenzo-quinns-vroom-vroom-sculpture-arrives-in-central-londo/ a
“The wicker beach chair just inside the entrance of The Casements looks almost quaint, an upended picnic basket. Yet from this throne, in the dawn of the 20th century, Standard Oil titan John D. Rockefeller Sr. watched his millionaire friends race automobiles down the broad, hard-packed sands of Ormond Beach.
Due east down Granada Boulevard, the Birthplace of Speed park marks the location of the Hotel Ormond Challenge Cup, a pioneering 1903 match between autos built by Alexander Winton and Ransom Olds. Olds’ spidery-looking racer, “Pirate,” was described by some as a “bedspring on wheels.” Winton, driving his own oblong “Bullet,” barely won, officially achieving 48 miles per hour.The oil magnate, otherwise a no-frills and frugal man, had a serious fascination with the automobile. Rockefeller was delighted when friend Henry Ford gave him the first Ford V-8 to come off the assembly line in 1931. Read More:http://findarticles.com/p/news-articles/palm-beach-post/mi_8163/is_20040919/frugal-rockefeller-fascinated-automobile/ai_n51850111/
There was a time — the Golden Age of the Automobile in the 1950s and 1960s — when cars were really at the center of American cultural life. The car reflected individuality and status; what you drove told us a lot about who you were, since most cars were not bought on credit or lease. So if your family drove a an econo-box you were condemned to an image less than desirable on the part of your peers. But that has changed, at least in part. Cars for many are a cheap means to get from a to b and the objects of desire have shifted to other classes of goods.
The first American artist to grapple with this concept of the car was John Sloan. An avowed socialist, Sloan saw the car within the scope of Veblen’s Theory of the Leisure Class and the motorized vehicle was an accessory in the strivings of these newly emerging wealthy classes and quickly led Sloan to make the connection of the car as central device in the American dream and a symbol of celebrity and wealth.
In his “Indian Detour” of 1927, Sloan played up the parody and ridicule in a telling reversal of history. Sloan had always seemed to recognize the absurdity and find the irony in the association of car travel with the frontier spirit, when it a metaphor for the destruc
of it. He saw it as a misguided romantic notion of leaving civilization behind to explore virgin territory. Here, buses, tourists, and travelers surround a group of Santa Fe Indians while performing a ritual dance. No longer are the wagons surrounding migrating settlers for protection as was the case in the nineteenth- century; its now a show of strength as mechanized version of the earlier genocide.
The most significant contribution of establishing the iconography of the car in twentieth century American art can be attributed to European painter, Dadaist, and car freak, Francis Picabia. He introduced the image of car parts into his art while in America in 1915, utilizing these forms in highly personal ways that showed mechanical symbolism as object and machine portraits.
Later, a view of the auto factory that was more attuned to its violent potential as source of materialism was the Diego Rivea murals in Detroit .
Andrew Graham Dixon: The original shock value of Picabia’s mechanical allegories is impossible to recapture, almost a hundred years later. But this was daring and disconcertingly original work to have created in the second decade of the twentieth century – dealing not only in the taboo subject of sex, but treating it purely as process and mechanism, without any consoling reference to love or indeed any other emotion. In New York, Picabia and Duchamp met and befriended Man Ray, who shared their sardonic fascination with machines and brought it into the realm of photography. Man of 1918 is characteristic: a photograph, blotched by time, of a hand-operated food whisk hung at a suggestive angle on a wall.
But it was Duchamp, ultimately the most influential of the three artists, who created the most aggressively unconventional metaphor of human beings as sexual automata. He called the work The Large Glass, or The Bride Stripped Bare by Her Bachelors, Even and he laboured on it for eight years before leaving it unfinished in 1923. Read More: http://www.andrewgrahamdixon.com/archive/readArticle/548 a