Tai ngay!!! Ban co the xoa dong chu nay!!! Au t o m o t i v e P r o s t h e t i c U ve ni rs A of ity Te x P as t u s re s, Au in st m o o i t e v Pr t s o e h Me di i at c i t on an d a l th c i e g Ca o l o r n h i c n Te Co n ce pt ua Ch l Ar ar t is sa N Te rr an o va Copyright © 2014 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2014 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O Box 7819 Austin, TX 78713-7819 http://utpress.utexas.edu/index.php/rp-form ♾ The paper used in this book meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) (Permanence of Paper) Library of Congress Cataloging-in-Publication Data Terranova, Charissa N Automotive prosthetic : technological mediation and the car in conceptual art / by Charissa N Terranova — First edition pages cm Includes bibliographical references and index ISBN 978-0-292-75404-1 (cloth : alk paper) Automobiles in art. 2 Conceptual art—Themes, motives. I Title N8217.A94T47 2014 743′.89629222—dc23 2013016700 doi:10.7560/754041 To Caroline, Camille, Mimi, and Sophia THIS PAGE INTENTIONALLY LEFT BLANK Contents Preface ix Acknowledgments xi Introduction 1 Chapter Conceptual Car Art: Rethinking Conceptualism through Technology 27 Chapter Mobile Perception and the Automotive Prosthetic: Photoconceptualism, the Car, and Urban Space 57 Chapter The Nows of the Automotive Prosthetic: Moving Images, Time, and the Car 115 Chapter Communication Space: Automotive Urbanism in Dan Graham’s Work 151 C h a p t e r Hummer: The Cultural Militarism of Art Based on the SUV 187 Chapter c o n c lu s i o n Richard Prince: The Fetish and Automotive Maleficium 227 The “Freedom” of Automotive Existence 265 Notes 279 Bibliography 307 Index 323 \\ vii THIS PAGE INTENTIONALLY LEFT BLANK P r e fac e In writing about the genesis of this book, I might look deep into my past for the sources of influence and inspiration: to the wry collision of distinct forces that was growing up as part of a family of classical musicians in the capital of country music, Nashville, Tennessee; to being, like so many Americans, an automotive citizen for as far back as I can remember; or to my early graduate training as an art historian by scholars who viewed this discipline through the prism of landscape and architecture Yet, the more resonant, even causal sources of this book are located in the shallows of deep memory, in the first years of my time in Dallas I came to Dallas from Cambridge, Massachusetts, in January 2004 to teach contemporary art history at Southern Methodist University in what was then called the Division of Art History After years traveling the edges of the intellectual universe on a ship called architectural theory, I was not so much happy to land as I was curious and open to explore yet again new terrains, the discipline of art history some eight years after my departure from it within a small liberal arts school in the heart of Texas The constraints on my teaching were minimal and the collegiality high I incorporated a fair bit of architectural theory in the form of structuralism, poststructuralism, and deconstruction into the two-semester survey of contemporary art of which I was in charge And it is from the second semester of this yearly course that Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art emerged What had started as a single lecture on conceptual art and language bifurcated, for there were, in my opinion, several photo-text pieces that were simply not done justice by this rubric So emerged two lectures on what was long ago a new kind of art: “Conceptualism I: Language and Semiotics” and “Conceptualism II: Architecture, Urbanism, and Landscape.” The second lecture became the engine of the book and, more precisely, Chapter Seeing Marie-Josée Jean’s sharply curated exhibition Road Runners in March 2009 at VOX, Center for the Contemporary Image in Montreal, marked another pivotal moment in the project Jean’s exhibition brought together the fine-arts populism of the Warner Brothers’ 1949 cartoon Fast and Furry-ous, the stately, golden-age conceptualism of works like Ed Ruscha’s Every Building on the Sunset Strip (1966), and new works by young artists, such as Kerry Tribe’s disparate yet recursive Near Miss (2005), a video \\ ix ———, eds White Trash: Race and Class in America New York: Routledge Press, 1996 Newman, Michael Richard Prince “Untitled” (couple) Cambridge, MA: MIT Press/ Afterall Books, 2006 Ngai, Sianne Ugly Feelings Cambridge, MA: Harvard University Press, 2005 Norton, Peter D Fighting Traffic: The Dawn of the Motor Age in the American City Cambridge, MA: MIT Press, 2008 O’Brien, Glenn “Are We Having Fun Yet?” Blind Spot 11 (1998), unpaginated O’Doherty, Brian “Highway to Las Vegas.” Art in America 60, no (January–February 1972): 80–89 ——— Inside the White Cube: The Ideology of the Gallery Space Berkeley: University of California Press, 1976 Peckham, Morse Man’s Rage for Chaos: Biology, Behavior and the Arts New York: Schocken Books, 1964 Pelzer, Birgit “Double Intersections: The Optics of Dan Graham.” In Dan Graham, edited by Birgit Pelzer, Mark Francis, and Beatriz Colomina London: Phaidon, 2001 36–79 Pepperell, Robert “Posthumans and Extended Experience.” Journal of Evolution and Technology 14 (April 2005): 27–41 Phillips, Lisa “Charles Ray: Castaway.” In Charles Ray, edited by Russell Ferguson and Stephanie Emerson Los Angeles: The Museum of Contemporary Art, 1998 93–104 ——— “People Keep Asking: An Introduction.” In Phillips, Richard Prince, 21–60 ———, ed Paul McCarthy New York: New Museum of Contemporary Art, 2000 ———, ed Richard Prince New York: Harry N Abrams, 1992 Picon, Antoine La ville territoire des cyborgs Paris: Les Éditions de l’Imprimeur, 1998 Pietz, William “The Problem of the Fetish, I.” Anthropology and Aesthetics (Spring 1985): 5–17 ——— “The Problem of the Fetish, II: The Origin of the Fetish,” Anthropology and Aesthetics 13 (Spring 1987): 23–45 Pilkington, Ed “My Way or the Highway.” Guardian, October 11, 2007 www.Guard ian.co.uk Plato The Republic, translated by John Llewelyn Davies and David James Vaughan New York: Macmillan Company, 1908 Prince, Richard 4×4 New York: Powerhouse Books, 1998 ——— “Collecting: Bringing It All back Home.” In Richard Prince: American English London: Sadie Coles HQ, 2003 Unpaginated ——— “Extra-ordinary.” In Spiritual America New Haven, CT: Eastern Press, 1989 ——— The Girl Next Door Los Angeles: MAK Center for Art and Architecture, 2000 ——— “In Propria Persona.” In Spector, Richard Prince, 326–333 ——— “Walter Dahn Interview.” Journal of Contemporary Art (Summer 1994): 112–127 ——— Why I Go to the Movies Alone New York: Tanam Press, 1983 Rajchman, John Foreword to Pictorial Nominalism: On Marcel Duchamp’s Passage from Painting to the Readymade, by Thierry de Duve Translated by Dana Polan Minneapolis: University of Minnesota Press, 1991 vi–xxii Bibliography \\ 317 Rian, Jeffrey “Social Science Fiction: An Interview with Richard Prince.” Art in America 75 (March 1987): 86–95 Richard, Paul “Edward Kienholz’s Beautiful Losers: At the Whitney Museum, the Sculptor’s Retrospective.” Washington Post, April 14, 1996 Roberts, John The Intangibilities of Form: Skill and Deskilling in Art after the Readymade New York: Verso, 2007 ——— “Photography, Iconophobia and the Ruins of Conceptual Art.” In The Impossible Document: Photography and Conceptual Art in Britain, 1966–76 London: Camerawork, 1997 Rosen, Jonathan “Bye-Bye Big.” New York Times, February 28, 2010 Rosler, Martha Decoys and Disruptions: Selected Writings, 1975–2001 Cambridge, MA: MIT Press, 2004 ——— “For an Art against the Mythology of Everyday Life.” In Rosler, Decoys and Disruptions, 3–8 ——— “In, Around, and Afterthoughts (On Documentary Photography).” In Rosler, Decoys and Disruptions, 151–206 ——— Rights of Passage New York: New York Foundation for the Arts, and Kortrijk, 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Stanford University Press, 2008 Sweeney, Gael “The King of White Trash Culture: Elvis Presley and the Aesthetics of Excess.” In Newitz and Wray, White Trash, 249–266 Szarkowski, John The Photographer’s Eye New York: Metropolitan Museum of Art, 2007 Szeemann, Harald, Scott Burton, Grégoire Müller, and Tommaso Trini Untitled paper presented at Live in Your Head: When Attitudes Become Form: Works—Concepts— Processes—Information, March 22–April 27, 1969, Kunsthalle, Bern, Switzerland Taussig, Michael “Maleficium: State Fetishism.” In Fetishism as Cultural Discourse, edited by Emily Apter and William Pietz Ithaca, NY: Cornell University Press, 1993 217–247 ——— Mimesis and Alterity: A Particular History of the Senses New York: Routledge, 1993 Tsutsui, William M Godzilla on My Mind: Fifty Years of the King of Monsters New York: Palgrave Macmillan, 2004 van Bruggen, Coosje John Baldessari New York: Rizzoli, 1990 Varela, Francisco J “The Specious Present: A Neurophenomenology of Time 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MA: MIT Press, 1961 ——— “How U.S Can Prepare for Atomic War: MIT Professors Suggest a Bold Plan to Prevent Panic and Limit Destruction.” Life, December 18, 1950, 77–86 Wilcox, Donald J The Measure of Times Past: Pre-Newtonian Chronologies and the Rhetoric of Relative Time Chicago: University of Chicago Press, 1987 Wiley, Jonathan “The Material of Film and the Idea of Cinema: Contrasting Practices in the Sixties and Seventies.” October 103 (Winter 2003): 15–30 Williams, Eliza “The Artist Jeremy Deller.” Creative Review (December 3, 2007) Williams, Raymond “From Medium to Social Practice.” In Williams, Marxism and Literature, 158–164 ——— “From Reflection to Mediation.” In Williams, Marxism and Literature, 95–101 ——— Marxism and Literature Oxford, England: Oxford University Press, 1978 Wills, David Prosthesis Stanford, CA: Stanford University Press, 1995 Wolf, Sylvia Ed Ruscha and Photography New York: Whitney Museum of American Art, 2004 Zaloga, Steven J HMMWV Humvee 1980–2005: US Army Tactical Vehicle Cambridge, England: Osprey, 2006 Žižek, Slavoj Welcome to the Desert of the Real! London: Verso, 2002 Bibliography \\ 321 THIS PAGE INTENTIONALLY LEFT BLANK Index Acconci, Vito, 45 Adorno, Theodor, 24, 190–191, 195, 202– 205, 211 advertising: and J G Ballard, 245– 246; and Roland Barthes, 48, 197; and Tom Ford, 269; and Dan Graham’s Homes for America, 168, 170; and the Hummer, 199; and Marshall McLuhan, 48; and Richard Prince’s work, 230–231, 235, 257–258 AEGIS, 224 affection-body, 100, 104–106, 109, 113 affectivity, 115–124, 147, 165, 275 Afghanistan, 190, 196, 201, 205 Agamben, Giorgio, 104n39, 281 agency, 16, 44, 105, 109, 155, 190–195, 205, 217, 219–226 Akins, Tara, 263 Alberro, Alexander, 95, 161, 167 Altman, Robert, 24; and the film Nashville, 118, 145–146, 149 American Dream, 5, 151, 169, 256 American Fine Arts, 237 AM General, 188 André, Carl, 158 Ant Farm, 24, 118, 128, 130–133 Anzieu, Didier, 25, 260–261 Appleyard, Donald, 174–177 Arcangel, Cory, 23, 59, 109–112 Aristotle, 203 Artforum, 10, 30, 82, 169, 186, 255 Artlab (Charlotte Cullinan and Jeanine Richard), 24, 128, 134 Arts Magazine, 161, 163 Atlas Group, The, 255 Austin, Texas, 274 automotive prosthetic See prosthetic/ prosthesis Baldessari, John, 23, 52, 59–62, 84–86 Ballard, J G., 8, 25; and advertising, 252; and Crash, 241–245; exhibition at Arts Lab gallery in London, 246; personal car wreck of, 246; in Charles Ray’s work, 248; and symphorophilia, 8, 245, 246; and Quentin Tarantino, 275 Barnett, Jason, 263 Bartana, Yael, 24, 118, 147–149 Barthes, Roland: and “Death of the Author,” 80, 133; and Mythologies, 47–51, 196–197 Basevich, Andrew J., 201–203 Bateson, Gregory, 9–13, 67 Baudelaire, Charles, 18, 268, 270 Baxter, Iain, 23, 71–72 Baxter, Ingrid, 71–72 Benjamin, Walter, 24; and Internet art, 112; and “Theses on the Philosophy of History,” 143–146; and “The Work of Art in the Age of Its Technological Reproducibility,” 154–155, 231 Berman, Wallace, 257 Bildungsroman, 1, 274–275 billboard(s), 32–33, 41, 70–71, 111, 165– 177 biopolitics See Foucault, Michel Birnbaum, 111–112 Black Mountain College, 52, 56 Bloom, Harold, 144 Blum, Michael, 255 Bois, Yve-Alain, and entropy, 79–80 Bolter, Jay David, 105, 107, 113 Boston, Massachusetts, 174–177 Boston Museum of Fine Arts, Bourriaud, Nicolas, 217 Bowery, New York, 90–95 breasts, 261–262 \\ 323 Buick Grand National, 257–259 Bullitt, 238–239, 275 Burnham, Jack: and relations, 37, 122, 123, 186, 192, 203, 217, 260; and Software, 11, 200; and systems aesthetics, 9–10, 18, 186, 268 Burrows, Tom, 82 Bush, George H W., 202 Bush, George W., 198, 199, 202, 212 Cabrera, Margarita, 193, 203, 205–208 Cage, John, 11, 48, 51–53, 62, 73 Campbell, David, 196 Cannonball Run, The, 137 car art, 1, 6, 8–9, 11, 28 Carter, Jimmy, 202 Cartier-Bresson, Henri, 62–64 Cebelenski, Chris, 263 chance, and agency, 25, 64, 87, 138, 191, 195, 219–226 Chandler, John, 27 Chicago, Illinois, x Chevrolet El Camino, 258 Chevy Nova, 274 Chrysler, Citroen DS, 50–51 clinamen, 25, 144 Clinton, Bill, 2o2 collage, 78, 152, 231, 251 conceptualism: vii, ix, 10, 23, 27–30, 35, 44, 59, 74, 77, 81–82, 105, 155, 158, 164–165, 167, 169, 186, 231; conceptual art, 2–12, 15–16, 22–23; and conceptual car art, 6, 8, 11, 14, 22, 27–56; and the conceptual turn, 8, 19, 23, 35–36, 41, 47–55, 59, 64, 106, 112; and photoconceptualism, 6, 23, 57–114 Conrad, Tony, 73 contemporary art, x Corporate Average Fuel Economy (CAFE), 211–212 Corso, Gregory, 55 Corvette, 270 324 // Automotive Prosthetic Crary, Jonathan, 12, 14–17 Crash exhibition at Gagosian Gallery, London, 242–244 Creative Time, 193, 218 Crewdson, Gregory, 115–120, 126, 133 Crimp, Douglas, 63 Cubism, 35 cultural militarism, 187–226 Cunningham, Merce, 56 cybernetics See perception Cybernetic Serendipity, 11 cyborg, 12–19, 23, 29, 44, 45, 49, 59, 74, 85, 96–98, 100, 178–186, 268, 271–277 Dallas, Texas, x, xi, 135, 210, 211, 212; and Dallas Morning News, xi; and Dallas Observer, xi Death Proof See Tarantino, Quentin de Duve, Thierry, 35 de Kooning, Willem, 231 de Land, Colin See Prince, Richard Deleuze, Gilles and Felix Guattari, 17, 73 DeLillo, Don, 116–120, 126 Deller, Jeremy, 193, 203, 217–219 dematerialization, 6, 9, 14, 35 Derrida, Jacques, 17, 58, 270 Descartes, René, 139 Dick, P K., 252 di Suvero, Mark, 75 documentary: and film, 128–134, 141, 148; in Dan Graham’s work, 165, 168; and photography, 38, 63, 74, 77–82, 89–108; in Angie Waller’s work, 193– 194; and Youtube.com, 219–226 Dodge: Dodge Challenger referenced in Richard Prince’s work, 243; in the game Ship’s Mast in Quentin Tarantino’s Death Proof, 275; Edward Kienholz’s Back Seat Dodge, 100; Richard Prince’s reproduction of a 1970 Dodge Challenger, 228–229; in Vanishing Point, 239 Doppler effect, 124 Drexler, Arthur, Drezner, Amy, 263 Duchamp, Marcel, 35, 48, 50, 59, 80, 110, 229–230, 237 Duel, 135–136 Düsseldorf NRW-Forum Kultur und Wirtschaft, Dutch Electronic Art Festival, 122 ecology See perception eidos, 260 embodiment, 31–32, 36, 97–100, 109, 121 enaction, 104, 149 entropy, 23, 74–80, 147, 174, 262 Esquire, 164 Export, Valie, 259 exteriority, 17, 170 Facebook, 111, 262–263 Fast and Furry-ous, ix feedback loop, 2–12, 18–19, 22, 25, 42, 44, 84, 163, 166–186, 262 Feininger, Lyonel, 167 Ferus Gallery, 70 fetish, 25, 28, 51, 99, 120, 227–264; and Sigmund Freud, 228–232, 256–260; and Karl Marx, 230–232; and mischief in Richard Prince’s work (see maleficium); and Michael Taussig, 233–235 fiction: and Tom Ford and body modification, 269; in Hollywood catastrophe, 196; and parafiction, 240–242, 255; and Richard Prince’s autobiography, 241–242; and Richard Prince and J G Ballard, 243–245; and Richard Prince and P K Dick, 252; in Richard Prince’s work, 233, 235–236, 237–244; and science fiction in Dan Graham’s work, 76, 178 Fine Arts Gallery, University of British Columbia, 82 Flavin Dan, 75, 158 Fleming, Dean, 75 Fleury, Sylvie, 266–268 Flick, Robbert, 59, 207–208 Fluxus, 45, 52, 55 Flynt, Henry, 73 Fogle, Douglas, 62–64 Forakis, Peter, 75 Ford, Tom, 265–266 Ford Motor Company, Fort Worth, Texas, xi, 211 Foucault, Michel, 15, 152; and biopolitics, 15–16, 155, 169, 266 Frank, Robert, 7, 23, 55, 59, 62 freedom: and consumer choice, 3–5, 15, 215; and existentialism, 59, 120, 217, 272–274, 277; and liberal democracy, 96, 205, 216, 265, 276; and the open road, 16, 53, 139, 145, 227, 265 Fresh Air, 267 Freud, Sigmund, 17, 25, 32, 154, 192 See also fetish Frieze Fair, 228–229 General Motors, 6, 187 Gesamtkunstwerk, 246 Ginsberg, Allen, 55 Gitlin, Todd, 196 Glasstire.com, xi Godzilla, 199 Grabner, Michelle, 237, 240–241 Graham, Dan, 24; and architecture, 157–177; and the car, 152–156; and feedback city, 177–186; haptic unconscious, 151–157; and Homes for America, 152–168; and Marshall McLuhan, 183; and Radical Software, 183–184 Green, Jeff, 264 Greenberg, Clement, 38, 42–43 Greenough, Sarah, Gropius, Walter, 167 Gross, Terry, 266–269 Index \\ 325 Grosvenor, Robert, 75 Grusin, Richard, 105, 107, 113 Gucci, 269–270 Guggenheim Fellowship, 60 Guggenheim Museum, New York, 7, 231, 256, 257 Guimard, Hector, 33 Haacke, Hans, 19–20 Hansen, Mark B N.: and the affection- body, 100, 104–106; and embodiment, 23, 32; and enaction, 149; and retention and protention, 122–123; and technesis, 16–17, 46, 270; and the time of affect, 121–127 haptic unconscious See perception Haraway, Donna: and the cyborg-subject, 23, 44, 49–50, 98, 269, 271–272; and prosthesis, 17–18 Harper’s Bazaar, 161 Harvard University, xi Harvey, Jonathan, 218 Harvey, William, 19 Hayles, N Katherine, 23; and cybernetics, 97–100 Heartney, Eleanor, 91, 231 Heidegger, Martin, 17 heimlich/unheimlich, 257 Herodotus, 139 Higgins, Dick, 55 High Museum, Hiratsuka Museum of Art, Hopper, Dennis, 23, 38, 59, 69–72 Horkheimer, Max, 24, 190–191, 195, 211 Hubbard, Teresa, and Alexander Birchler, 24, 139–143 Hugo, Victor, 47 Hummer, 24, 45, 187–226; and the Real, 190–193, 219–226; and repression, 190–193, 195–202; and sublimation, 190–193, 203–219 Humphrey, Ryan, 263 Humvee, 188 326 // Automotive Prosthetic Husserl, Edmund, 121–123, 127; and epoché, 127–128, 144 Huxley, Aldous, 68 infrastructure: and J G Ballard, 244; and billboards, 172; and Harold Bloom, 144; the body and systems of, 2–4; and Boston, 176; and conceptual formation of, 31–32; and Dan Graham’s Homes for America, 165; and Marshall McLuhan, 66; and networks of, 22; and Julian Opie, 41; and the phenomenology of motion, 57–58; and Charlotte Posenenske, 131; and Richard Prince, 249, 253, 261, 262; and Gilbert Simondon, 271; and war destruction of, 219 Ingwersen, Anna, 263 Institute for Contemporary Art, University of Pennsylvania, 172 Iraq War, Second, 189–226 Iron Man film franchise, 17 James, William, 23, 134 Jameson, Fredric, 17 Jean, Marie Josée, ix Jetztzeit See nows Johnson, Philip, 167 Joselit, David, 178–179 Joseph, Branden, 73 Judd, Donald, 75–76, 158, 229 Junge, Andrew, 193, 203, 207–209 Kafka, Franz, 73 Kaprow, Allan, 45 Katrina (hurricane), 198 Kelley, Mike, 73 Kerouac, Jack, 48, 51–55, 62 Kienholz, Edward, 23, 59, 100–109 kinetic art/kineticism, 33, 46, 120, 186 kitsch, 31, 169, 229–230 Klein, Yves, 62–63 Kline, Franz, 239 Kluijver, Robert, 218 Krauss, Rosalind, 6, 35–36, 62, 79–80, 154–155; and post-medium condition, 6, 42, 46 Kristeva, Julia, 17, 254–255 Kruger, Barbara, 241 Kurjakovic, Daniel, 126 Kury, Michael James, 263 kybernetes, 2, 16, 22, 96 KZM Center for Art and Media, Karlsruhe, Germany, Lacan, Jacques, 17; and desire and the Law of the Father, 220, 221, 225–226; and the real, 24–25; and Slavoj Žižek, 190–195, 212–213 Lafitte, Jacques, 13 Lafreniere, Steve, 251–252 Lambert-Beatty, Carrie, 240, 255 Las Vegas See space Lawther, Margaret, 23, 59, 64–66, 70 Lebanon, Tennessee, 274 Lee, Pamela M., 38, 113 Leslie, Alfred, 55 LeWitt, Sol, 75, 81–82, 158 Lichtenstein, Roy, 63, 76, 154, 160–161, 169 Light, Jennifer, 172–175 Ligon, Peter, 193, 203, 210 Lippard, Lucy, 27 looking-at versus looking-through See perception Los Angeles County Museum of Art, Lunden, Duane, 82 Lynch, Kevin, 174177 Lyotard, Jean-ưFranỗois, 102103 machismo, 192, 222, 228, 238, 239, 274 Mackey, Nathaniel, 254–255 Magar, Anthony, 75 maleficium, 227, 232–236 manhood, 227–228 manufacturing: American automotive market, 68; and American dominance, 48; and armaments, 195, 197; and automotive urbanisms, 30; and city centers, 174; and cybernetic networks, 12; and Fordist and Just In Time, 3; and freedom, 139; and Humvees, 188; and Margaret Lawther, 66; and obsolescence of, 120; and Julian Opie, 39; and Richard Prince, 234, 240, 252 Marples, Mary, 261–262 Marx, Karl, 25 See also fetish Maserati, 270 Massachusetts: Adams, 118; Cambridge, ix; Lee, 118; Pittsfield, 118 Massachusetts Institute of Technology (MIT), 11, 172, 175–176 Massumi, Brian, 275–277 Mattison, Robert Saltonstall, 52–53 McCarthy, Paul, 23, 38, 59, 69–72 McDonald’s, 64, 196 McKenna, Kristine, 256–257 McLuhan, Marshall: amputation and auto-amputation, 58; and architecture, 160–161; and Gregory Bateson, 67; and exteriority, 270; and feedback, 178; and Dan Graham, 183, 186; and the highway, 84; and hot and cold media, 18; and Margaret Lawther’s work, 66; and posthumanism, 98; and Understanding Media: The Extensions of Man, 43–44, 47–50 McQueen, Steve, 238–239 mechanology See Simondon, Gilbert mediation: and architecture within Dan Graham’s work, 157, 161, 171; and conceptual art, 28, 29, 36, 62–64, 74; and critic and artist Brian O’Doherty’s thinking, 32; and Robbert Flick’s work, 107–108; and Edward Kienholz’s work, 103; and Marshall McLuhan, 43–50; and moving-image art, 124, 129, 137; and the mutable Index \\ 327 subject-object in Dan Graham’s work, 177, 179–180, 186; and Julian Opie’s work, 39–42; and Richard Prince’s work, 234, 236; and remediation, 106–107, 109–110; and Tony Smith’s drive along the New Jersey Turnpike, 33–34, 45–47; and technology, 6, 23, 35; in Angie Waller’s work, 193; and Raymond Williams, 36–37; and YouTube.com, 220 medium, 18, 33–47 Melcher, Tamara, 75 Meraz, Jesse, 263 Mercedes, 243 Merleau-Ponty, Maurice, 97, 121–123 Messianism, 144 Metropolis, 269 Mies van der Rohe, Ludwig, 48, 154, 156, 167 military metaphysics See Mills, C Wright Mills, C Wright, 189, 194, 201 mimesis, 53; in Dan Graham’s Homes for America, 158, 165; in Dan Graham’s video work, 178; in representations of the Hummer in art, 192–193, 203– 205, 211–214, 217; in Martha Rosler’s The Bowery in Two Inadequate Descriptive Systems, 93; in Quentin Tarantino’s Death Proof, 274 minimalism, 34, 158, 169 Mitchell, W J T., 124 mobility See Hummer; perception Moholy-Nagy, Laszlo, 35, 48 Monster Trucks, 249 Montreal, Canada, ix, 4, 8, 77–79 Montreal Museum of Fine Arts, Morris, Robert, 11, 75 muscle car: in the work of Richard Prince, 227, 228–230, 237–240, 243– 244, 248, 254–255; in the work of Jonathan Schipper, 8, 19, 21, 25, 116, 120, 126; in Quentin Taratino’s Death Proof, 275 328 // Automotive Prosthetic Museum of Contemporary Art, Los Angeles, Museum of Modern Art, New York, 3–4, 12, 19–20 Myer, John R., 174–177 Myers, Forrest, 75 Namuth, Hans, 239 Nashville See Altman, Robert Nashville, Tennessee, ix National Interstate and Defense Highways Act, National Public Radio, 267 Neel, Alice, 55 N E Thing Co See Baxter, Iain network(s): absence/presence, 99; in Dan Graham’s work, 151–186; pattern/ randomness, 99 Neurath, Otto, 39–41, 126 New Jersey Turnpike, 23, 29, 34, 37, 39, 42–43, 45, 53 Newton, Isaac, 19, 116, 120, 139 New York Times, 187, 188, 196, 251 Nicosia, Nic, 24, 118, 128, 133–135 Nintendo, 111 nows, 115–124; and compresence, 125– 127; and deep now of the long perpetual road, 124–136; and the episodic and narrative, 136–142; and Jetztzeit, 112, 143–149 Obama, Barack, 202 O’Brien, Glenn, 256 O’Doherty, Brian, 29–33, 154 Oldenberg, Claes, 206 Olson, Charles, 56 Opie, Julian, 23, 33–44, 59, 109–112, 125– 127 Oursler, Tony, 73 Owens, Bill, 164 Panama Canal Zone, 241–242 Pasha, Esham, 218 Pat Hearn Gallery, 237 perception: and cybernetics, 8–9, 11–13, 17, 19, 57, 97, 160, 167, 172–174; and ecology, 5, 8–10, 18, 39, 64, 67, 101, 109, 208, 249, 261–262; and haptic unconscious, 22, 24, 151–156; and looking-at versus looking-through, 1–8, 10, 14, 51, 102, 279n4; and mobility, 57–114 phenomenology, 12–14, 19, 22, 57–58, 97, 273; pop phenomenology, 29–34, 154 Philadelphia Museum of Art, 170–171 Phillips, Lisa: and Charles Ray, 247; and Richard Prince’s early work, 88–89 photoconceptualism See conceptualism photoconceptual view to the road, 60–96 Pichler, Franz, Picon, Antoine, 178 Piper, Keith, 104–105 Pliny, 240 Plymouth, 135–136 Pollock, Jackson, 239 Pontiac: and J G Ballard, 246; and Charles Ray, 247 pop phenomenology See phenomenology Porsche, 270 Posenenske, Charlotte, 24, 130–132 posthuman, 10, 12, 96–105, 266–272 posthumanism, 98 post-medium condition See Krauss, Rosalind Prince, Richard, 7, 23, 25, 59; and Abstract Expressionists as method actors, 239; and automotive fetishes, 227–262; and J G Ballard, 241–246; with Colin de Land as John Dogg, 232–233, 237–239; and the othering of white trash culture, 249–256; and photographic skins on cars, 257–262; and Rennselaerville, NY, 251, 257; and Spiritual America (1989), 228; and views to the road, 87–89 Prokopoff, Stephen S., 172 prosthetic/prosthesis, ix, xi, 17–18, 43–44, 58–59, 66, 98, 106; automotive prosthetic, xi, 8–10, 57–114, 115–150 Raʾad, Walid, 255 Radical Software, 24, 183–184 Rand Corporation, 172 Rauschenberg, Robert, 11, 38, 48, 51–55, 56, 62 Ray, Charles, 247–248 Reagan, Ronald, 202 remediation, 106–113 representation: and entropy, 75–77; and Tom Ford, 269; and Dan Graham, 158, 164–165; and Hummer/SUV art, 203, 205, 210–211; and minor beauty, 73; and photoconceptualism, 59; and Richard Prince, 249, 253; and remediation, 106–107; and Martha Rosler, 90; and technology, 6, 39 Richards, M C., 56 Riesman, David, 180–181 Rivers, Larry, 55 Road Runners (exhibition), ix–x Rosen, Jonathon, 187–188 Rosler, Martha, 23, 59, 89–96 Rotman, Brian, 14, 36, 109 Rowe, John Carolos, 195–196 Ruda, Ed, 75 Rudofsky, Bernard, Rugoff, Ralph, 252 Ruscha, Edward, ix, 23, 59, 70, 80, 81, 108 Russell, Bertrand, 38, 125–127, 133 Russell, Kurt, 274–275 Sartre, Jean-Paul: and Nausea, 273–274; and No Exit, 272–273 Schipper, Jonathan, 8, 19, 21, 116, 120, 140 Schivelbusch, Wolfgang, 66–68 Schmidgen, Henning, 20 Schneeman, Carolee, 45, 259 Index \\ 329 Schumacher, Joel, 24, 118, 145, 149; and Falling Down, 146–147 Serexhe, Bernhard, Shelley, Mary, 169 Shepperton, UK, 245 Shunk, Harry, 62 Sichuan Tengzhong Heavy Industrial Machines, 187 Siegel, Katy, 120 Simondon, Gilbert, 12–22, 271; and mechanology, 8–9, 12–13, 17–19 skin: and J G Ballard, 245–246; and Gregory Bateson’s “Mind,” 24; and Margarita Cabrera’s soft sculptures, 206; and ear-eye-skin continuum, 57, 105; and Sylvie Fleury’s work, 266, 268; and kybernetes, 22; and Marshall McLuhan’s sense of housing, 160–161; and Richard Prince’s photographic skins, 25, 257–263; and Erwin Wurm’s work, 267 Smith, Benedict, 263 Smith, Grant, 263 Smith, Roberta, 35; and Didier Anzieu’s skin-ego, 260, 273–274; and microbial population, 261; and Gilbert Simondon, 271 Smith, Tony, 23, 29, 33–35, 42–43, 53, 113 Smithson, Robert, 75–76, 80, 84, 158 Smokey and the Bandit, 137 Sony Portapak, 36–38 Southern Methodist University/SMU, ix, xi, 211 space: and automotive urbanism, 5, 30; and Baghdad, 24, 219–224; communication space, 151–187; and highways, xi, 5, 12, 22, 68, 73, 76, 145, 152, 159, 166–178, 249, 253; and Las Vegas, 29–33, 169, 172, 177 space-time mobility: in communication space, 151–186; in moving images and automobiles, 115–150; in trains, 66–68 330 // Automotive Prosthetic Spielberg, Steven, 135–136 sports utility vehicle (SUV), 38, 188, 191– 198, 210–213, 220–221 Stiegler, Bernard, 123, 134, 160 Styrofoam, 207–208 suburbia, 76, 140, 151, 154, 158–160, 164, 181, 184 Sunset Boulevard, ix, 69–71, 80–81, 108 Sweeney, Gael, 253–254 Swiss National Radio Broadcast, 126 symphorophilia See Ballard, J G systems aesthetics, 9–10, 19, 57, 120, 186 systems theory, 10–14, 18, 24, 39, 41, 75, 90–93, 97, 99, 124, 161, 165, 261–262 Tampa Museum of Art, 207 Tarantino, Quentin, and Death Proof, 265, 273–275 Taussig, Michael, 204, 233–235 Taut, Bruno, 167 technesis, 17, 46 technology: analogue, 11–13, 31, 63, 97– 108, 121, 245; digital, 11–13, 31–36, 97– 123, 178, 193–194, 203, 222, 225, 262 television/TV, 46, 47, 55, 67, 118, 131, 136, 252; and cultural militarism, 195–196, 219, 220, 245–246; in Dan Graham’s work, 160–166, 173, 177, 178, 179, 181, 183, 185 Terranova, Sophia, 263 Thelma and Louise, 276 Thompson, Nato, 218 Thucydides, 139 Time Life, 235 Tinguely, Jean, 46, 120 train, 66–68 Transformers film franchise, 17 Tribe, Kerry, ix–x Tudor, David, 56 tyché, 191 United States Military, 223–225 University of Texas at Dallas, xi Valledor, Leo, 75 Vanishing Point, 229, 275 Van Ness, David Winslow, 263 Varela, Francisco, 23, 121, 127–135, 144, 149 vast defeatured urban landscape, 74–96 Vazan, Bill, 23, 59, 77–79 Venturi, Robert, and Denise Scott Brown, 4, 24, 33, 154–172, 177 video, ix, 6, 8, 23–24, 28, 39, 41–42, 47, 69, 105, 108–149; and cultural militarism, 191–193, 196, 199, 203, 205, 213– 215, 220, 221–226; in Dan Graham’s work, 152, 158, 160–166, 174, 177–185; and YouTube.com, 24, 111, 189–191, 194, 198–226 Vidler, Anthony, 95–96 Villar, Alex, 8, 193, 203, 213–216 Virilio, Paul, 122 Vitruvian man, 180 Warhol, Andy, 30, 38, 215, 246–247, 270 Weaver, Dennis, 136 Wegenstein, Bernadette, 260 Weibel, Peter, Wenders, Wim, 24, 136–142 Wheeler, Dennis, 82 whiteness, 254, 258 white trash culture, 228, 233, 236, 239, 249–263 Wiener, Norbert, 18–19, 160, 173 Wilcox, Donald J., 152 Williams, Raymond, 37 Wills, David, 58 Wilson, Fred, 255 Wilson, Woodrow, 202 Wurm, Erwin, 266–267 Wyeth, Andrew, 231–232 Wagstaff, Jr., Sam, 34, 37, 43, 45 Walker Art Museum, 62 Wall, Jeff, 23, 59, 64, 74, 82–83, 109, 165– 166, 204 Wallace, Ian, 23, 59, 82 Waller, Angie, 8, 193, 203, 213–215 YouTube.com See video Yves Saint Laurent, 269 XV Motorsports, Irvington, New York, 229 Zionism, 148 Žižek, Slavoj, 194, 220–222 Index \\ 331