THE ART OF THE Mi TY°( ^/ ; ^ . Y ?-k GUGGENHEIM MUSEUM THE ART OF THE MOTORCYCLE GUGGENHEIM MUSEUM Digitized by the Internet Archive in 2013 http://archive.org/details/artofmotOOsolo THE ART OF THE MOTORCYCLE THE ART OF THE MOTORCYCLE GUGGENHEIM MUSEUM Contents Preface Thomas Krens Issues in the Evolution of the Motorcycle Charles M. Falco Cycles of Paradox Mark C. Taylor and Jose Marquez 44 Song of the Sausage Creature Hunter S. Thompson 48 The Art of the Motorcycle: Outlaws, Animals, and Sex Machines Ted Polhemus 60 Bikes were always work for me Dennis Hopper 68 Freedom or Death: Notes on the Motorcycle in Film and Video Art Simon 82 Bosozoku (motorcycle gangs) Ikuya Sato 90 To the Edge: Motorcycles and Danger Melissa Holbrook Pierson 96 Inventing the Motorcycle: 1868-1919 The Machine Age: 1922-1929 New World Orders: 1930-1944 Freedom and Postwar Mobility: 1946-1958 Popular Culture/Counterculture: 1960-1969 298 Getting Away from It All: 1969-1978 342 The Consumer Years: 1982-1989 368 Retro/Revolutionary: 1993-1998 398 Motorcycle Books Charles M. Falco Catalogue Index 43 Demy Taon • 124 cc • 1957 • France, p. 242 42. MV Agusla 500 Grand Prix • 497 cc • 1956 * Italy, p 238 41 Vincent Black Shadow Series C • 998 cc • 1954 • United Kingdom, p. 234 40 AJS £-95 '499CC 1953 • United Kingdom, p 230 39 DKWRT125W- 122 CC' 1952 • West Germany, p 228 • 48 Honda CB92 Benly Super Spoil • 125 cc 1960 • Japan, p 264 47 BSA Gold Star Clubman's >499cc • I960 • United Kingdom, p 260 46 Triumph Twenty-One • 350 cc • 1958 • United Kingdom, p 252 45 Harley- Davidson Sportster XL'883cc 1957 • United States, p 248 44 Harley-Davidson KR •750cc> 1957 • United Stales, p. 246 93 Morbidelli V8 • 847 cc • 1997 • Italy, p. 390 92 BMWR1200C' 1,170 cc 1997 • Germany, p 388 91 Beta Techno • 272 cc 1997 • Italy, p. 386 90 Honda EXP-2 '402cc 1995 • Japan, p 384 89 Aprilia Moto 6.5 »649cc» 1995 • Italy, p 380 • 88. On. .in 916 • 916 cc 1994 • Italy. P I'"S • 87 Britten V1000 • 985 cc 1994 • New Zealand, p. 376 86 Yamaha GTS1000 • 1.003 cc • 1993 • Japan, p 374 85. Ducati M900 Monster" • 904 cc 1993 • Italy, p 372 84 Yamaha Vmax • 1.198 cc 1989 • Japan, p. 366 95 MV Agusta F4 '750cc 1998 • Italy, p. 394 94. Italjet Formula 50 LC »49cc 1998 • Italy, p. 392 THE ART OF THE MOTORCYCLE Solomon R. Guggenheim Museum, New York June 26-September 20, 1998 The Field Museum of Natural History, Chicago November 7, 1998-March 21, 1999 Guggenheim Museum Bilbao fall 1999 This exhibition is made possible by BMW. The Frank 0. Gehry installation is made possible by Banana Republic. Transportation assistance is provided by Lufthansa German Airlines. Sponsor's Statement More than eight years ago, Thomas Krens approached BMW with his idea for a museum exhibit featuring the motorcycle as a cultural phenomenon. For Mr. Krens, looking at the motorcycle in this way seemed perfectly natural. For BMW. which has been creating motorcycles of character since 1923, it was every bit as natural to view the motorcycle as a phenomenon that influences, and is influenced by, culture— in other words, not merely as two wheels and an engine; not just as a motor vehicle or industrial product; and much more than a halfway point between bicycle and automobile. The world's first motorcycle was assembled before the turn of the century, a year before the first automobile. At the time, the motorcycle was little more than a melding of bicycle and internal-combustion-engined cycle; yet it was a development whose relevance to transpor- tation, society, and prosperity would begin to become apparent some two decades later. BMW's own history began in 1916 with aircraft engines; in 1923. the first BMW motorcycle, the R32, made its debut at the Pans Auto Salon. In the motorcycle, one sees an all-encompassing reflection of the very nature of mobility. Today, At the turn of the century, mobility was a necessity: it meant work, bread, survival. mobility of course remains a necessity; but in the world's advanced societies it is also much more: an expression of freedom, of being where we want to be when we want to be there. low points of history, Over the century of the motorcycle's existence, it has ridden the high and two- wheeler, originally reflecting society and the diverse directions it has taken. The motorized individuality and symbol of a vehicle of necessity, has evolved into a means of expressing a active, optimistic lifestyles. design; so. equally, has its value As the motorcycle's role in society has evolved, so has its a composition of many elements to society. From the artistic viewpoint it is three-dimensional: in which it is conceived and of form, design, and aesthetics, always reflecting the time that the motorcycle is one of the icons produced. Without exaggeration, it is possible to say in both technology and culture. The of our century, representing significant achievements 20th century and shares with BMW Guggenheim has recognized its particular meaning for the value, richly deserves this recognition. the belief that the motorcycle, as an object of cultural raison d'etre to continually challenge the For both the Guggenheim and BMW, it is a art; and to illuminate the synergies ordinary; to merge the boundaries between technology and to observe, act upon, and between engineering and culture. Both institutions feel an obligation the development of new concepts, both lead societal trends, as well as to support cultural values as equal elements in technological and cultural. Both perceive technology and national, but rather in global dimensions; today's world. Both institutions think not in merely the unconventional. both are prepared to pursue the new, the innovative, motorcycles. BMW is proud and On the occasion of the 75th anniversary of BMW interaction will help illuminate the far-reaching honored to sponsor an exhib.t.on that we think and catalogue The Art of the between technology and culture. For the outstanding exhibit Solomon R. Guggenheim Foundation. Motorcycle, we are profoundly indebted to the AG —Bernd Pischetsneder, Chairman of the Board, BMW Project Team Exhibition Design Curator Frank Gehry and Associates Thomas Krens O Exhibition Graphics Curatorial Arnell Group Charles Falco, Curatorial Adviser Let There Be Neon, Inc., New York Ultan Guiltoyle, Curatorial Adviser Matthew Drutt. Associate Curator for Research Art Services and Preparation Sarah Botts. Executive Assistant to the Director Karen Meyerhoft, Director ot Exhibition and Collection Vanessa Rocco, Proiect Curatorial Assistant Management and Design Guillermo Ovalle, Assistant Registrar Film and Video Program Eleanor Nagy, Associate Conservator tor Sculpture John Hanhardt, Senior Curator ot Film and Media Arts Nobby Clark, Technical Consultant Mana-Chnstina Villasehor, Assistant Curator ot Film and Media Arts Scott Wixon, Manager of Art Services and Preparations Art Simon, Guest Curator Peter Read, Manager of Exhibition Fabrication and Design Richard Gombar. Construction Manager Technical and Historical Advisory Board James Cullmane, Senior Exhibition Technician Thomas Krens. Chairman Barry Hylton, Ad Services and Preparations Proiect Leader Richard Gaul, Cochairman Stephen Engelman, Fabrication Specialist George Barber Derek DeLuco, Art Handler Beverly St Clair Baird Jack Davidson Otis Chandler Jen Doyle Nobby Clark Craig Drennen Matthew Drutt Megan Dyre David Edwards Matt Schwede Bud Ekins Groom, Exhibition Design Coordinator Don Emde Jocelyn Ana Lmnemann, Graphic Designer Charles Falco Ultan Guilloyle Catalogue, Design Stetan Kmttei Richard Pandiscio Helmut Krackowizer Peter Stemmler, Senior Designer Harry Lindsay Yves Macaire Catalogue, Editorial and Production Sammy Miller Anthony Calnek, Director of Publications Peter Noever Elizabeth Levy, Managing Editor/Manager of Foreign Editions Karl Reese Elizabeth Franzen, Manager of Editorial Services Bernard Salvat Esther Yun, Assistant Production Manager John Surtees Carol Fitzgerald, Associate Editor Phillip Tooth Domemck Ammirati, Editorial Assistant Thomas Trapp Melissa Secondmo, Production Assistant Joachim Vogt Stephanie Fleischmann Ed Youngblood Lisa Cohen Deborah Drier Photography Olga Han David Heald, Chief Photographer and Director Anita Leclerc ot Photographic Services Phil Patton Ellen Labenksi, Assistant Photographer Emily Russell Kimberly Bush, Photography and Permissions Associate Diana Stoll Werner Diesenroth Thad Ziolkowski Gabnele Diesenroth-Sinus Joset Holzl Interns Chnstoph Kuhn Regmal Harper Flonan Rappmannsberger An Hiroshige L Frances Hui Chnstiane Ibach Sylvia Omedes Beatrice Trussardi 14 Lenders to the Exhibition The Solomon R. Guggenheim Foundation American Honda Motor Company. Inc . Torrance Honorary Trustees in Perpetuity The Barber Vintage Motorsports Museum, Birmingham. Ala Solomon R Guggem Glenn M Bator BMW AG. Munich Peggy Guggenheim Dominique Buisson Ron Bussey Honorary Chairman King Juan Carlos of Spam, courtesy of Cagiva Motor SpA, Varese Peter Lawson- Johnston The Otis Chandler Vintage Museum of Transportation and Wildlife. Oxnard, Calif Chairman Ron Commo Peter B Lewis Alain Cortot Derbi-Nacional Motor S A , Barcelona President Deutsches Zweirad-Museum. Neckarsulm, Germany Ronald O. Perelman Deutsches Museum, Munich Ducati Motor SpA. Bologna Vice-Presidents David Edwards Wendy L-J. M William Eggers John S. Wadsworth, Jr Elf-Antar France. Pans Laurence L Forstall Vice-President and Treasurer Mick Frew Stephen C Swid Peter Gagan Michel Gagnaire Director The Gilbert family Thomas Krens Gerard Gruschwitz Henry Ford Museum & Greenfield Village, Dearborn, Mich Secretary John Hoover, courtesy of Kawasaki Motor Corp., USA, Irvine, Calif Edward F Rover Mr. and Mrs Dennis E Huaman James M Hunter Honorary Trustee Claude Pompidou Italjet. USA, Huntington, New York Matthew Janquitto, Vintage Imports Dale Keesecker Trustee Ex Officio Chris Le Sauvage Dakis Joannou Moschen D J Ught Luigi Harry Lindsay Oirector Emeritus Jean Malleret Messer Reed Martin Thomas M Mark Mederski, courtesy of The Motorcycle Heritage Museum. Westerville, Ohio Franck Meneret Trustees Giovanni Agnelli Meyer The Sammy Miller Museum, Bashley Manor, England Jon Imanol Azua Ronald C Per.