Just what is a Muscle Car?” Road Test magazine asked in its June 1967 issue. The answer: “Exactly what the name implies. It is a product of the American car industry adhering to the hot rodder’s philosophy of taking a small car and putting a BIG engine in it. . . . The Muscle Car is Charles Atlas kicking sand in the face of the 98 hp (73 kW) weakling." Unconcerned with the style or sophistication of its European counterparts, the American muscle car was built for straight-line speed and quickly became the darling of the power-hungry racer and serious gearhead. In the intervening years, these down-and-dirty, high-performing beauties have earned their place in the automotive pantheon. As prized by collectors and aficionados as they are by denizens of garages and drag strips, these cars now fetch millions of dollars at auctions and feature in any story of America’s automotive glory days. The icons of muscle car art are on full display in this lavishly illustrated volume, each described in a detailed essay followed by a gallery of photographs that capture the art of the muscle car at its finest. See Motorbooks author David Newhardt interviewed by Jay Leno on JayLenosGarage.com: http://www.jaylenosgarage.com/video/jays-book-club-david-newhardt/1174466/
The best hot rods are art on four wheels, and this book is nothing less than a gallery of the best of American hot rods. Profiling top builders and featuring studio portraits of their most outstanding custom creations, this book celebrates the uniquely American marriage of mechanical know-how and an inspired sense of style and design. Built from the ground up, pieced together from salvaged parts, rebuilt with classic looks and futuristic technology--these are automotive works of art, as powerful on the page as they are on the street. See Motorbooks author Ken Gross interviewed by Jay Leno on JayLenosGarage.com: http://www.jaylenosgarage.com/video/art-of-the-hot-rod/1139915/
Art of the Classic Car showcases the most beautiful and in some cases rare vehicles of the early 20th century. Each car is showcased with breathtaking photography and coupled with explicit, informative prose detailing the particular history of each model"-Provided by publisher.
Describes the cars shown in this special exhibition that explores the art of the automobile, featuring antique and vintage racing cars that exemplify the beauty of vehicles designed for speed. Artistry and engineering come together in these functional yet highly crafted works of art.
The best hot rods are art on four wheels, and this book is nothing less than a gallery of the best of American hot rods. Profiling top builders and featuring studio portraits of their most outstanding custom creations, this book celebrates the uniquely American marriage of mechanical know-how and an inspired sense of style and design. Built from the ground up, pieced together from salvaged parts, rebuilt with classic looks and futuristic technology--these are automotive works of art, as powerful on the page as they are on the street. See Motorbooks author Ken Gross interviewed by Jay Leno on JayLenosGarage.com: http://www.jaylenosgarage.com/video/art-of-the-hot-rod/1139915/
Art of the Classic Car showcases the most beautiful and in some cases rare vehicles of the early 20th century. Each car is showcased with breathtaking photography and coupled with explicit, informative prose detailing the particular history of each model"-Provided by publisher.
In 1877, Ruskin accused Whistler of ’flinging a pot of paint in the public’s face’. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public’s face? Whistler’s answer was simple: painting is music - or it is poetry. Georges Braque, half a century later, echoed Whistler’s answer. So did Braque’s friends Apollinaire and Ponge. They presented their poetry as music too - and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art - music - as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of ’great art’, why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.
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