DOCSLIB.ORG

Ant Farm's Cadillac Ranch, 1974

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ant Farm's Cadillac Ranch, 1974 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Utah: J. Willard Marriott Digital Library TERMINAL STRUCTURES: ANT FARM’S CADILLAC RANCH, 1974 by Patrick Maguire A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Arts in Art History Department of Art and Art History The University of Utah August 2014 Copyright © Patrick Maguire 2014 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The thesis of Patrick Maguire has been approved by the following supervisory committee members: Paul Paret , Chair 4/29/2014 Date Approved Lela Graybill , Member 4/29/2014 Date Approved Craig Dworkin , Member 4/29/2014 Date Approved and by Brian Snapp , Chair/Dean of the Department/College/School of Art and Art History and by David B. Kieda, Dean of The Graduate School. ABSTRACT The San Francisco art and architecture collective Ant Farm built Cadillac Ranch in 1974 outside of Amarillo, Texas, to showcase “the rise and fall of the Cadillac tailfin.” The ten vintage Cadillacs buried nose‐first in a row along the old Route 66, with their tailfins jutting up obliquely, is often read as a monument to the golden era of the American automobile. Yet despite (and because of) its continued popularity, the work has rarely been taken seriously as art. This thesis proposes a revaluation of Ant Farm’s iconic project, and represents an attempt to position Cadillac Ranch as an important sculptural installation that speaks to many of the key concerns of the American avant‐garde of the 1960s and 1970s. My title references the Jewish Museum’s 1966 exhibition “Primary Structures: Younger American and British Sculpture,” which sparked the rapid legitimization of minimalist sculpture in the postwar American art world. Reading Cadillac Ranch against this seminal artistic tradition, I argue that the project can be read as a monumental epitaph to the exhausted aesthetic models and sociopolitical narratives of the late‐modern period. Cadillac Ranch memorializes modernism by rehearsing its formal techniques, but as a hybridized, participatory project, it also enacts modernism’s end. This thesis begins by describing the development of the Cadillac Ranch commission through several media forms. From there, the body of the text proceeds through the lens of minimalist sculptural practices, with an in‐depth consideration of the ways in which the project reprograms the formal tactics of minimalism: seriality, industrial materials, readymade objects, etc. Next, I articulate the specificities of Cadillac Ranch’s monumentality, with recourse to texts by Tony Smith and Robert Smithson—two figures who helped precipitate the shift into the expanded field of art making after minimalism’s emergence. This will involve a comparison of the inherent monumentality of Cadillac Ranch to that of large‐scale earthworks, while treating such land art as a dialogue between earth‐ moving practices and media‐performative ones. The last section provides an account of the media afterlife of Cadillac Ranch as it is visible through mass cultural manifestations of its image and name. iv TABLE OF CONTENTS ABSTRACT………………………………………………………………………………………………………....... iii Sections I INTRODUCTION………………………………………………………………………………….............. 1 II MEDIA‐MOBILE: ORIGINS AND EVOLUTION…...……………………………............. 13 III MINIMALISM: OBJECT AND ENCOUNTER.………………………………………........... 19 Auto‐phenomenology……………………………………………………………………….......... 29 The Road…………………….……………………………………………………………………………… 33 Historicity and Temporality…..……………………………………...…………………………. 35 Into the Expanded Field................................................................................... 38 IV THE NEW MONUMENTS.................................................................................... 42 Land Art............................................................................................................ 50 V MEDIA AFTERLIFE.............................................................................................. 58 Postscript........................................................................................................... 62 REFERENCES......................................................................................................... 64 SECTION I INTRODUCTION 2014 marks the fortieth anniversary of the completion of Cadillac Ranch, a sculptural installation and roadside attraction just outside of Amarillo, Texas, consisting of ten vintage Cadillac automobiles buried headfirst in a row parallel to Interstate 40, formally historic U.S. Route 66.1 The project was conceived and executed in 1974 by the San Francisco‐based art and architecture collective Ant Farm (Doug Michels, Chip Lord, and Hudson Marquez) in collaboration with Stanley Marsh 3, an enthusiastic oil and natural gas baron who provided the artists with funding and land on which to build.2 Cadillac Ranch was built “as a monument to the rise and fall of the tailfin,” in the artists’ own words—an archive of nostalgia for the golden era of the American automobile.3 For years, Cadillac Ranch has been a well‐known site, popular among both locals and road‐tripping 1 BuD Lee, “Cadillac Ranch, 1974,” 1974, in Ant Farm, 1968‐1978, eDs. Constance M. Lewallen anD Steve SeiD (Berkeley: University oF CaliFornia Press, 2004), 68. 2 Marsh—who preFers “3” to the more conventional Roman numerals—was For DecaDes the ringleaDer oF Amarillo’s peculiar cultural circus, anD one oF the city’s most well‐known anD visible citizens. BesiDes Cadillac Ranch, Marsh commissioneD numerous works oF art, both public anD private. OF particular note are two projects with automotive resonance: Robert Smithson’s Amarillo Ramp (1973), a graDeD earthen curl on a Dry lakebeD on Marsh’s property, anD the so‐calleD Dynamite Museum, a project begun in the early 1990s that consists oF thousanDs oF mock traFFic signs planteD all over Amarillo. The signs bear jokes, images, anD nonsequiturs. 3 Chip LorD, Automerica: A Trip Down U.S. Highways from World War II to the Future: A Book (New York: Dutton, 1976); reproDuceD in Ant Farm 1968‐1978, eDs. Lewallen anD SeiD, 157. 2 tourists, some of whom pass through Amarillo on a journey to retrace a road that has engrained itself in the American Imaginary, one of the country’s first highways and a crucial artery for westward migration during the 20th century. Situated about 650 ft. south of Interstate 40, the Cadillacs are buried nose‐ first in the dirt at 52‐degree angles. They form a neat, single‐file line, oriented on an east‐west axis, and are buried chronologically, with the earliest car farthest west. The front bumper of each Cadillac has been anchored in cement at the bottom of an eight‐foot hole (subsequently refilled with dirt), allowing the progression of tailfins to obliquely project into the air. The cars were buried with factory paintjobs, but today, every conceivable surface has been covered with spray paint graffiti, many times over. They have also been subjected to structural vandalism—no window or hubcap remains, and much of the remaining metal has been beaten and bent. Cans of spray paint litter the ground near the installation. There is no informational or directional signage, and the work is rarely, if ever, mentioned in Amarillo’s scant tourist literature. Despite all this, the daily stream of visitors to its roadside site attests to the continued popularity and remarkable assimilation of Cadillac Ranch into mainstream cultural consciousness. As high art, however, it has rarely been taken seriously. The current legacy of Cadillac Ranch is defined by the kitsch of postcards and RV parks that bear its name; as an image, it is both recognizable and visually interesting, but apparently unworthy of critical reflection. Perhaps aesthetic accessibility has repelled scholars otherwise interested in Ant Farm’s work. Ten cars are buried in Texas. Take a 3 picture, make your mark and move along. But what if we take the joke seriously? Such a question is quite a pertinent one for Ant Farm, who present problems to the historian attempting to categorize and make sense out of their diverse oeuvre, which includes performances and drawings, architecture and video. Scholars have not by any measure ignored Ant Farm, but Cadillac Ranch, by far the group’s most famous project, has never been the subject of a sustained analysis. The common assessment of the work, as a critique and/or celebration of consumer culture, is not incorrect—Lord claims “Cadillac Ranch was intended to be as much a monument to the glory of the tailfin as a burial of the gas guzzler”4—but it does not tell the whole story. The project is only truly activated through the various discourses of postwar art, and the ways in which Cadillac Ranch engages the automobile, that most American of image‐objects, go beyond simple celebration or critique. In hope of addressing this oversight, and with a historicist attitude coincident with four decades of popular recognition and critical neglect, this thesis thus proposes a revaluation of Ant Farm’s iconic project, and represents an attempt to position Cadillac Ranch as an important sculptural installation that speaks to many of the key concerns of the American avant‐garde of the 1960s and 1970s. Pop art, minimalism, and land art practices all find themselves refracted through Ant Farm’s kitschy automotive lens. One encounters a degree of 4 Paul Harris, “How the US Fell Out oF Love with
Load more

Recommended publications
  • Unpacking the Vault: Hidden Narratives in the Bennington Art Collection
    Unpacking the Vault: Hidden Narratives in the Bennington Art Collection Feb. Z7-April 15, 2018 A two-phase exhibition co-curated bystudents Over seven weeks in fall 2017, students delved into the campus art-storage space known as '""the vault." They researched objects familiar and unknown, seeking narrative strains connecting artworks to the college and to each ot her. The resulting exhibition is the first of college art holdings curated by a Bennington class. It reveals and honors the eclectic nature of a collection that, known for mid-century abstraction, also contains surprises from w ithin and beyond that art-historical moment. More broadly, "Unpacking the Vault" identifies core themes and agents in the making, distribution, and acquisition of art. Organized in t hematic clusters, objects play a "six degrees of separation" game of individuals, institutions and modes of collecting. This strategy resists hierarchy and celebrates the miscellaneous, finding common ground for a range of styles, time periods, and artists. "Unpacking the Vault" also engages Benn ington history by transforming Usdan Gallery into a hybrid gallery/clas sroom, symbolically fulfilling design plans from the 1960s envisioning a dedicated space, under the gallery and adjacent to the vault, for studying t he art collection. Because of the range of works owned by the college, the exhibition will evolve. "Phase one" opens with arrangements determined by the fall class. In spring 2018, a new class takes over to create "phase two," transforming the show with additional artworks and themes. An informal "catalog" of documents gives background on artists and donors, highlighting when possible how a rtworks entered the Bennington holdings.
    [Show full text]
  • Jackson Pollock & Tony Smith Sculpture
    Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt.
    [Show full text]
  • The Passage Through Space Into Image
    art credit rule should be: if on side, then in gutter. if underneath, then at same baseline as text page blue line, raise art image above it. editorial note editorial note JEFF KELLEY saw Cadillac Ranch in pictures long before I frst passed its upturned tailfns on u.s. Interstate 40 west I of Amarillo. The half-buried car bodies seemed sur- The Passage prisingly puny against the wide-open sky of the Texas Pan- handle. In the photographs, the cars looked like modern monoliths. Along the highway, they were ungainly hulks through Space nose-down in the dirt, and brought to mind earlier wrecks that long ago had passed this way: the over-heating, loaded- into Image for-broke truck in John Ford’s The Grapes of Wrath, for instance, and the prairie schooners of the late nineteenth century—the Cadillacs of their time. Cadillac Ranch is the elephant graveyard of the uto- pian dream-car that carried the American psyche from the blast furnaces of World War II to the blast-offs of the space program. Cadillacs that looked like rocket ships helped us imagine the transition from ordinary space to outer space. That transition was articulated in these cars as the gradual evolution of the tailfn from a bulbous hind- quarter to an aerodynamic wake. The ten cars half buried near Amarillo encapsulate the model years between 1949 and 1964, when the nation’s consciousness, unable to re- turn to the naiveté of pre-war isolationism, was retrained Courtesy: the Ant Farm Archive at University of California, of California, University at Archive the Ant Farm Courtesy: Film Archive Art Museum and Pacific Berkeley on the newly menacing stratosphere of orbiting satellites and nuclear trajectories.
    [Show full text]
  • Rereading Theatricality in Luciano Fabro's
    BEHIND THE MIRROR: REREADING THEATRICALITY IN LUCIANO FABRO’S ALLESTIMENTO TEATRALE BY DAVID A. THOMAS THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Adviser: Assistant Professor Irene Small ABSTRACT In the 1967 article "Art and Objecthood," the American art critic Michael Fried faults Minimalist sculpture for its inherent theatricality. Theatricality, as he defines it, results from the form's anthropomorphic scale and sense of hollowness that imply a presence, like that of a human body, inside the work. The dialogical relationship between the viewer and this interior presence becomes a spectacle. I intend to examine Fried's definition of theatricality alongside the work of the Arte Povera artist Luciano Fabro, who utilizes familiar Minimalist-like forms as containers for real human bodies. In a scantly documented performance piece Allestimento teatrale: cubo di specchi [Theatrical Staging: Mirror Cube], (1967/75), Fabro presents a theatrical performance with an audience seated around a large mirror cube listening to a monologue performed by an actor sealed inside the cube. Since its inception in the late 1960s, the Italian Arte Povera movement has been described, among other things, as a critique of Minimalism. The group read Minimalist sculpture as a reflection of an alienating technological system of American capitalist production. As I argue, Fabro's construction of presence renders it an affectation, a manipulation of the public audience, and further that the reflection of the audience on the sides of the mirror cube allows for the formation of a collective subject.
    [Show full text]
  • North American Artists' Groups, 1968–1978 by Kirsten Fleur Olds A
    Networked Collectivities: North American Artists’ Groups, 1968–1978 by Kirsten Fleur Olds A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in The University of Michigan 2009 Doctoral Committee: Professor Alexander D. Potts, Chair Professor Matthew N. Biro Associate Professor Rebecca Zurier Assistant Professor Kristin A. Hass © Kirsten Fleur Olds All rights reserved 2009 To Jeremy ii Acknowledgments This dissertatin truly resembles a “third mind” that assumed its own properties through collaborations at every stage. Thus the thanks I owe are many and not insignificant. First I must recognize my chair Alex Potts, whose erudition, endless patience, and omnivorous intellectual curiosity I deeply admire. The rich conversations we have had over the years have not only shaped this project, but my approach to scholarship more broadly. Moreover, his generosity with his students—encouraging our collaboration, relishing in our projects, supporting our individual pursuits, and celebrating our particular strengths—exemplifies the type of mentor I strive to be. I would also like to acknowledge the tremendous support and mentorship provided by my committee members. As I wrote, I was challenged by Rebecca Zurier’s incisive questions—ones she had asked and those I merely imagined by channeling her voice; I hope this dissertation reveals even a small measure of her nuanced and vivid historicity. Matt Biro has been a supportive and encouraging intellectual mentor from my very first days of graduate school, and Kristin Hass’sscholarship and guidance have expanded my approaches to visual culture and the concept of artistic medium, two themes that structure this project.
    [Show full text]
  • Minimal Art and Body Politics in New York City, 1961-1975 By
    Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work.
    [Show full text]
  • Annual Report 2004
    mma BOARD OF TRUSTEES Richard C. Hedreen (as of 30 September 2004) Eric H. Holder Jr. Victoria P. Sant Raymond J. Horowitz Chairman Robert J. Hurst Earl A. Powell III Alberto Ibarguen Robert F. Erburu Betsy K. Karel Julian Ganz, Jr. Lmda H. Kaufman David 0. Maxwell James V. Kimsey John C. Fontaine Mark J. Kington Robert L. Kirk Leonard A. Lauder & Alexander M. Laughlin Robert F. Erburu Victoria P. Sant Victoria P. Sant Joyce Menschel Chairman President Chairman Harvey S. Shipley Miller John W. Snow Secretary of the Treasury John G. Pappajohn Robert F. Erburu Sally Engelhard Pingree Julian Ganz, Jr. Diana Prince David 0. Maxwell Mitchell P. Rales John C. Fontaine Catherine B. Reynolds KW,< Sharon Percy Rockefeller Robert M. Rosenthal B. Francis Saul II if Robert F. Erburu Thomas A. Saunders III Julian Ganz, Jr. David 0. Maxwell Chairman I Albert H. Small John W. Snow Secretary of the Treasury James S. Smith Julian Ganz, Jr. Michelle Smith Ruth Carter Stevenson David 0. Maxwell Roselyne C. Swig Victoria P. Sant Luther M. Stovall John C. Fontaine Joseph G. Tompkins Ladislaus von Hoffmann John C. Whitehead Ruth Carter Stevenson IJohn Wilmerding John C. Fontaine J William H. Rehnquist Alexander M. Laughlin Dian Woodner ,id Chief Justice of the Robert H. Smith ,w United States Victoria P. Sant John C. Fontaine President Chair Earl A. Powell III Frederick W. Beinecke Director Heidi L. Berry Alan Shestack W. Russell G. Byers Jr. Deputy Director Elizabeth Cropper Melvin S. Cohen Dean, Center for Advanced Edwin L. Cox Colin L. Powell John W.
    [Show full text]
  • Route 66 Economic Impact Study Contents 6 SECTION ONE Introduction, History, and Summary of Benefi Ts
    SYNTHESIS OF FINDINGS A study conducted by Rutgers, The State University of New Jersey in collaboration with the National Park Service Route 66 Corridor Preservation Program and World Monuments Fund Study funded by American Express SYNTHESIS OF FINDINGS A study conducted by Rutgers, The State University of New Jersey in collaboration with the National Park Service Route 66 Corridor Preservation Program and World Monuments Fund Study funded by American Express Center for Urban Policy Research Edward J. Bloustein School of Planning and Public Policy Rutgers, The State University of New Jersey New Brunswick, New Jersey June 2011 AUTHORS David Listokin and David Stanek Kaitlynn Davis Michael Lahr Orin Puniello Garrett Hincken Ningyuan Wei Marc Weiner with Michelle Riley Andrea Ryan Sarah Collins Samantha Swerdloff Jedediah Drolet Charles Heydt other participating researchers include Carissa Johnson Bing Wang Joshua Jensen Center for Urban Policy Research Edward J. Bloustein School of Planning and Public Policy Rutgers, The State University of New Jersey New Brunswick, New Jersey ISBN-10 0-9841732-3-4 ISBN-13 978-0-9841732-3-5 This report in its entirety may be freely circulated; however content may not be reproduced independently without the permission of Rutgers, the National Park Service, and World Monuments Fund. 1929 gas station in Mclean, Texas Route 66 Economic Impact Study contents 6 SECTION ONE Introduction, History, and Summary of Benefi ts 16 SECTION TWO Tourism and Travelers 27 SECTION THREE Museums and Route 66 30 SECTION FOUR Main Street and Route 66 39 SECTION FIVE The People and Communities of Route 66 51 SECTION SIX Opportunities for the Road 59 Acknowledgements 5 SECTION ONE Introduction, History, and Summary of Benefi ts unning about 2,400 miles from Chicago, Illinois, to Santa Monica, California, Route 66 is an American and international icon, myth, carnival, and pilgrimage.
    [Show full text]
  • Nismo Fiesta 2019 - 2 Days - to San Antonio - B
    Nismo Fiesta 2019 - 2 days - to San Antonio - b 0 mi 50 100 150 200 250 Copyright © and (P) 1988–2012 Microsoft Corporation and/or its suppliers. All rights reserved. http://www.microsoft.com/streets/ Certain mapping and direction data © 2012 NAVTEQ. All rights reserved. The Data for areas of Canada includes information taken with permission from Canadian authorities, including: © Her Majesty the Queen in Right of Canada, © Queen's Printer for Ontario. NAVTEQ and NAVTEQ ON BOARD are trademarks of NAVTEQ. © 2012 Tele Atlas North America, Inc. All rights reserved. Tele Atlas and Tele Atlas North America are trademarks of Tele Atlas, Inc. © 2012 by Applied Geographic Solutions. All rights reserved. Portions © Copyright 2012 by Woodall Publications Corp. All rights reserved. Nismo Fiesta 2019 - 2 days - b Map Day 1 0 mi 50 100 150 Copyright © and (P) 1988–2012 Microsoft Corporation and/or its suppliers. All rights reserved. http://www.microsoft.com/streets/ Certain mapping and direction data © 2012 NAVTEQ. All rights reserved. The Data for areas of Canada includes information taken with permission from Canadian authorities, including: © Her Majesty the Queen in Right of Canada, © Queen's Printer for Ontario. NAVTEQ and NAVTEQ ON BOARD are trademarks of NAVTEQ. © 2012 Tele Atlas North America, Inc. All rights reserved. Tele Atlas and Tele Atlas North America are trademarks of Tele Atlas, Inc. © 2012 by Applied Geographic Solutions. All rights reserved. Portions © Copyright 2012 by Woodall Publications Corp. All rights reserved. Nismo Fiesta 2019 - 2 days - b Map Day 2 0 mi 50 100 150 Copyright © and (P) 1988–2012 Microsoft Corporation and/or its suppliers.
    [Show full text]
  • Large Scale : Fabricating Sculpture in the 1960S and 1970S / Jonathan Lippincott
    Large ScaLe Large ScaLe Fabricating ScuLpture in the 1960s and 1970s Jonathan d. Lippincott princeton architecturaL press, new York Published by Princeton Architectural Press 37 East Seventh Street New York, New York 10003 For a free catalog of books, call 1.800.722.6657. Visit our website at www.papress.com. © 2010 Jonathan D. Lippincott All rights reserved Printed and bound in China 13 12 11 10 4 3 2 1 First edition No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. All images © Roxanne Everett / Lippincott’s, LLC, unless otherwise noted. All artwork © the artist or estate as noted. Front cover: Clement Meadmore, Split Ring, 1969, with William Leonard, Don Lippincott, and Roxanne Everett. (One of an edition of two. Cor-Ten steel. 11'6" x 11'6" x 11'. Portland Art Museum, OR. Cover art © Meadmore Sculptures, LLC / Licensed by VAGA, New York, NY. Photograph by George Tassian, from the catalog Monumental Art, courtesy of the Contemporary Arts Center, Cincinnati. OH.) Back cover: Robert Murray, Athabasca, 1965–67, with Eddie Giza during fabrication. (Cor-Ten steel painted Van Dyke Brown. 144" x 216" x 96". The Gallery, Stratford, ON. Art © Robert Murray.) Frontispiece: Claes Oldenburg comparing his model to the large-scale Clothespin, 1976. (Cor-Ten steel, stainless steel. 45' x 12'31/4" x 4'6" [13.72 x 3.74 x 1.37 m].
    [Show full text]
  • Cadillac Ranch Donation Request
    Cadillac Ranch Donation Request Matchmaking Simeon always face-harden his prolegs if Raymond is weedier or iridizing obnoxiously. Petrographic and localized Baxter houselling her septets simulcast minutely or offend afield, is Geoff enclosed? Untransmissible Linus birdie grossly. The cadillac ranch donation to redeem when rides are sanitized after Donation Request Eagle Eye. Were bound in gun house The Miami Horns Springsteen On. Rothrock Police Magistrate, Nasib Karam Town Attorney, Robert Haverty Town Marshal and Robert Lenon as Town Clerk. Our easy parts request form will denounce your pillow your Pontiac Anti-Theft Control Module request review a zippy. Simply verify the community status via ID. This is footer bottom content. Huntsville, Madison, Athens, Nashville, Destin or Pensacola in the next year. We have sex on tooting his cadillac ranch for accommodation in stock and foreign vehicles, cadillacs quickly gets good thing. Robinson Ranch Ronald McDonald House Charities of Southern California STAND. Everyone agrees that healthy employees cost less. San Diego was fast becoming a center for drug smuggling. All information pertaining to these vehicles should be independently verified through the dealer. Pink Cadillac is awesome song by Bruce Springsteen released as the non-album B-side of Dancing. Pick your cadillac ranch donation request burritos for c for your request must show their lives in. We are available to cadillac ranch. The finally is tremendous benefit for St Jude's Children around in Memphis TN a charity walk music singers have always greatly supported This year's. Service Financing & Other Teams Karl Tyler Chevrolet in. History Patagonia Public Library. Ways To Order Order your parts with ease! Cadillac Ranch All american Bar & Grill in the US.
    [Show full text]
  • OSU-Tulsa Library Michael Wallis Route 66 Archive TEXAS Box 1
    OSU-Tulsa Library Michael Wallis Route 66 archive TEXAS Rev. September 2016 Box 1 Accommodations Texas 1997 Accommodations Guide. Articles: 1985-1986 “Texas Music Goes Down in History.” Accent West , Aug 1984. Untitled. [“Texas became the sixth stateto propose that US 66.”] US Press International, Apr 1985. “Route 66 Signs to be Auctioned in Texas.” US Press International, Oct 1986. “Three Astonishing Stories.” Cowboys & Country , undated. Adrian Midpoint Café and Gift Shop. Brochure in 2 versions; commemorative brick order form. “Adrian’s Pioneers’ Home was Unofficial Community Center.” Unknown source, Mar 1961. “Closing of General Store Leaves Gap in Adrian.” Unknown source, Sept 1981. “Adrian’s Bent Door on Route 66 Undergoing Renovation.” Prairie Dog Gazette , Summer 1995. Alanreed Alanreed City Limits. Travel Center postcard. “Travelers on Old Route 66.” Souvenir postcard. “Taming of Desperados in Southwest Gray Co.” Souvenir postcard. Whitefish Creek Ranch B&B. Brochure. “Alanreed Had Some Trouble Settling on Present Name.” Pampa News , Aug 1950. 1 “From A to Izzard. The Town That Refuses to Died.” Unknown source, Dec 1960. “Warm Spring Night in Old Alanreed Was Last for 3 Men.” Amarillo Daily News , Sept 1969. Amarillo 1 Souvenir postcard. Rand McNally map of Amarillo. 1984. Step Into the Real Texas: Amarillo. Visitor map. “Amarillo History” Printout from an internet source. Promotional/statistical blurb excised from an unknown source. Amarillo, Texas - Where the Old West Lingers On. Brochure. Amarillo: Step Into the Real Texas. Visitor Guides for 1994, 1998, 2007, 2011. Texas Historic Route 66 in Amarillo. Brochure. 2 “San Jacinto the Beautiful” on Route 66: A Revitalization Study for Sixth Street, Amarillo, Texas, 1989.
    [Show full text]