By Peter Wollen, Joe Kerr
Autopia is the 1st booklet to discover the tradition of the motor motor vehicle within the widest attainable experience. that includes newly commissioned essays by way of writers, critics, historians, artists and film-makers, in addition to reprinting key texts, it examines the impression of the auto during the international, together with america, Western and japanese Europe, Japan, China, Cuba, India and South Africa. during this publication the automobile is taken care of neither as a technological fetish item nor as an device of hazard. as an alternative, it truly is tested as a highly very important determinant of 20th-century tradition, neither totally reliable nor an unmitigated catastrophe, and positively forever fascinating.
Contributors contain Michael Bracewell, Ziauddin Sardar, Al Rees, Martin Pawley, Donald Richie and Peter Hamilton. Key texts by means of Marshall Berman, Jane Jacobs, Roland Barthes, Marc Augé and others.
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Additional resources for Autopia: Cars and Culture
Painting has not attracted anything like the interest that other visual media have. But ours is an age in which the visual image is not subject to aristocratic patronage, and thus has lost its exclusivity and 'aura'. Now it is merely subject to the frenetic impetus of commerce, in which a multi national company's advertising budget is larger than the income of a small campus, while research and development for a new model equals that of the science budgets oflarge universities. The car image is now freely available in the daily newspaper or in the 45-second TV advertisement.
Wolfe asked Kwei about the flame forms he used, which 'could have been on any car in East LA'. 12 In the 1960s, Von Dutch had been offered a Ruben Ortiz Torres, Alien Toy (Unindentified Cruising Object), 1 997, video installation . show at the Ferns Gallery, where Warhol exhibited, but he had turned it down. Nonetheless, customizers like him had a real influence on the LA art world. First, they worked with automobile paint, just as Siqueiros had done. Second, they treated cars as artworks. Robert Irwin has described how the car was central to artists' culture at the time: 'Everything was wrapped around the car.
But this seemingly innocent description of a childish sulk reveals a graphic parabola of sexual desire and fulfilment which implies more than playing with furniture. Withdrawal of the 'real thing' inevitably produces its own compensatory fantasy. The text describes perfectly the arc of sexual frustra tion and relief of the not-to-be-thwarted teenager cum anthropomorph. But what Toad introduces into literature is the car accident. He has eight of them and lands in gaol because of his careless and illegal driving.