Ford's virtual car design

Steampunk Architecture by David Trautrimas

Canadian artist David Trautrimas has created a series of digitally composite steampunk style Habitat Machines. These are compositions of residences made from everyday machines like coffee pots and sprinklers, staplers... Habitat Machine prints on archival paper are available here from Photo Eye Gallery. You can also be found at Arteriors and and you can purchase most all of the above as prints here at LE gallery. Now you can see David's work in VISUAL MORPHOLOGY, a group exhibition at KlompChing Gallery, Brooklyn New York from March 5.

Hubert Blanz's highway

Ever get lost in driving? Ever drive home and not remember any part of your drive? It’s scary how much some of us commute and how we’ve become accustomed to all the driving, I watch so much driving every day on the 210 Interstate, Monrovia’s Foothill Freeway. Amazing things drive by every single day, you’d honestly be surprised.

Mario bellini's car

Mario Bellini created the Kar-a-Sutra as a collaboration for Citroen and Pirelli in 1972. It was first exhibited at a groundbreaking show at MoMA that introduced Italian modern design to the US, Italy. The New Domestic Landscape.

Not just a car, but a "mobile human space," the Kar-a-Sutra was designed to be more than a living room on wheels, though it was that. It had panoramic glass and soft seating for seven that was configurable into either conversation pits or beds. The corrugated body panels evoke two classic Citroen designs, the lumbering HY van, and the awesome little Mehari, Citroen's pared down answer to the VW Thing.

One sketch on Bellini's site seems to show a sliding rear tailgate/rear sunroof that reminds me of the Studebaker Wagonaire. But in the actual car, the demo mimes are just opening a typical hatchback.

That's right, the whole rig was being modeled by mimes. Groping, PDA-happy, black cords-wearing mimes. Which makes the loss of the original concept car a little easier to accept; at least some poor restorationist doesn't have to worry about removing mime love stains from the original upholstery.

Mimesex notwithstanding, the Kar-a-Sutra's prescient design makes its relative invisibility online all the more confusing. Especially when you consider that the car was recreated last fall for a Bellini-designed exhibition on the 70's at the Triennale di Milano. So far, I haven't seen one picture of the mime-free replica, which was reportedly grey, not green, and filled with transparent mannequins.

Kar-a-Sutra stats and photos at Mario Bellini's studio site [mariobellini.com, found via iso50]

The Killing Machine and Other Stories

like the music

car commercial collection

Matta Clark

Webb Pierce and his horned car

Nudie was equally famous for his garishly-decorated automobiles. Between 1950 and 1975 he customized 18 vehicles, mostly white Pontiac Bonneville convertibles, with silver-dollar-studded dashboards, pistol door handles and gearshifts, extended rear bumpers, and enormous longhorn steer horn hood ornaments. They were nicknamed "Nudie Mobiles", and the nine surviving cars have become valued collector's items.[1][5] A Bonneville convertible designed for country singer Webb Pierce is on display at the Country Music Hall of Fame and Museum in Nashville, Tennessee. A Pontiac Grandville convertible customized by Nudie can be seen at the end of the 1988 Buck Owens/Dwight Yoakam music video, "The Streets of Bakersfield." That same car - which Owens' manager claims was originally built for Elvis Presley[1] - now hangs over the bar inside Buck Owens' Crystal Palace in Bakersfield, California.

André Kertész, Broken Plate, Paris, 1929

Surrealist's bizarre, dream-like settings can be found, for example, André Kertész' Broken Plate, Paris, 1929 is similarly disconcerting with its unfolding city shattered by a crack and hole in the glass plate through which the scene is viewed.Fragmentation and strange juxtapositions are also prominent in the works, creating unusual dichotomies of strange/familiar, constructed/organic and erotic/grotesque

Dali the Rainy Taxi

Brassaï “La Tour Saint-Jacques.”

Take the photograph by Brassaï, “La Tour Saint-Jacques.” It is in the room titled, “Le Réel, le Fortuit, le Merveilleux” demonstrating the Surrealist fascination with the city as their primary text. It is a picture of the tower at night with scaffolding surrounding it, as seen from the street level. Of course, this was not the first time in the history of art that someone has turned to the everyday images to explore a deeper idea. But the photograph does much more: it searches for the modern sublime of the city at night, devoid of human presence and almost devoid of adequate lighting. A room over, there are scrapbooks full of rags, streets, slums, and window-displays. The Surrealists found a new urban life all around them, aided in no small part to the camera that, yes, as Benjamin would say, strips what is being photographed of its authentic place in time and space. And this is the point.

Daniel Pitín

Valie Export, Clips from Adjungierte Dislokationen 1973

Fear And Loathing In Las Vegas

semi car and body

gabriel orozco-

Island with an Island

Car driving simulator

A Single Man (Car scence)

Crash! (1971)

The Driver

Car Time Lapse Test - R U Ready!

Car Time Lapse Test - R U Ready! from grey.squirrel on Vimeo.

Kaleidoscopic Color

Alex Brown's paintings combine photorealism and intricate abstraction for a final product that resembles a still life viewed through a kaleidoscope.

THE LAND BETWEEN US, place, power & dislocation

The Whitworth Art Gallery presents ‘THE LAND BETWEEN US, place, power & dislocation,’ an exhibition exploring today’s notions of landscape and identity by juxtaposing historic and contemporary works of art, curated by Mary Griffiths. The exhibition includes work by contemporary artists presented alongside highlights from the Whitworth’s historic collection, including more than 50 Turner watercolours.

Olafur Eliasson’s (b.1967) installation work The Forked Forest Path, 1998, is probably the most powerful part of the exhibition. The installation sees saplings such as silver birch woven together to create the powerful illusion of a dense forest. Eliasson’s version of a Romantic landscape is compared to the dark medieval forest in which Albrecht Dürer’s (1471-1528) knight travels through in the engraving, The Knight, Death and the Devil from 1513.

THE LAND BETWEEN US, place, power & dislocation, 25 Sep – 23 Jan 2011, Whitworth Art Gallery, Manchester, UK.
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http://www.morfae.com/0566-eliasson/

erwin wrum: narrow mist

with each of his new works, austrian artist erwin wurm reinvents the vocabulary of sculpture
turning it on its head. using simple materials, mundane objects, wit and written instructions,
wurm invites people to interact with his art, transforming spectators into active participants,
encouraging them to poke fun at the paradoxes of contemporary society. designboom just visited
erwin wurm's interactive exhibition 'narrow mist', on show at the UCCA in beijing, which presents
sculptures influenced by childhood houses, fashion fetishes an 'stuff' you can find in the
chinese metropolis.with subversive playfulness and an appreciation of human curiosity, wurm draws his audience in,
making them part of his creative process:

'I want to address serious matters, but in a light way. I want to reach more than just an
elite circle of insiders. if you approach things with a sense of humor, people immediately assume
you're not to be taken seriously. but I think truths about society and human existence can be
approached in different ways. you don't always have to be deadly serious. sarcasm and humor
can help you see things in a lighter vein.' - erwin wurm