On December 4th 2022, Art Car World received this amazing Art Car, “Purple Reign” from artist Rebecca Bass. This amazing vehicle, a tribute to the musician Prince, was created by Heights High School students, along with Rebecca Bass’ guidance, and won the top prize of the 2017 Houston Art Car Parade.
On December 10, 2016 we welcomed the arrival of the famous Wrought Iron VW by Joe Gomez. His daughter Teresa Cerna wanted the car to be cared for by the curator Harrod Blank. The vehicle is in need of new seat covers and new carpeting but otherwise it is exactly as Joe had left it in his garage in 1994. Restoration will be done on the car over the next year. There are currently 23 art cars in the museum.
DOUGLAS — Slathered in an off-pink paint that clogs the stonework, the building at the corner of Ninth Street and H Avenue has seen better days. But step behind the aging facade and you enter a world of art, obsession and wonder — all on wheels.
The Art Car World museum is home to 23 vehicles that are as unique as the people and circumstances that produced them, said Harrod Blank, artist, filmmaker and the museum’s creator.
There’s the Coltmobile, covered in 1,400 blue horses — one for every time its creator, a recovering alcoholic, wanted a drink. The Carthedral, a fusing of hearse and Volkswagen Beetle, towers as a gothic dream with gargoyles and stained glass windows.
“Cumulatively, this is lifetimes of work. A whole man’s life made just that one. You could not duplicate that if you tried,” Blank said, pointing to the California Fantasy Van. Made by a vacuum-cleaner repairman in California, the 1975 GMC van jingles and jangles with thousands of riveted brass items and $15,000 in coins.
“That’s how intensive these things are, how special — and you can only see them in Douglas,” he said.
The museum, open by appointment only, is a testament to Blank’s passion for art cars and the movement he helped define.
Nobody knows for sure who made the first art car, who looked at a ton of steel and decided it would make a great canvas, but self-expression was definitely the reason, artists said.
Blank, now 52, was 17 when he decided his first car, a beat-up, 1965 white VW Beetle, did not represent who he was. He painted a rooster on the door. People thought it was cool, and it pushed him to do more, he said.
By the time he left college, his Beetle was painted in multiple colors, with all sorts of decorations glued inside and outside. It had transformed into the Oh My God!, named after people’s reaction to the car.
Having studied filmmaking, Blank shot a documentary about art cars, called “Wild Wheels.” He also wrote a book by the same name, both in an effort to capture and celebrate art cars and their creators.
In 1993, he started working on his second art car, the Camera Van, which was covered with more than 2,000 cameras and assorted photography paraphernalia. It took him two years to complete.
Throughout his efforts, his mother and father, Gail and Les Blank, both artists, were very supportive, he said.
“The average parent would probably scold their kid if they spent two years gluing cameras to their van when they’re 32 years old,” Blank said. “My father did say, ‘When are you going to get a job?’ But he didn’t stop me.”
Since then, Blank has written another book about art cars and directed another full-length documentary, “Automorphosis.”
While people’s reasons for creating an art car may differ, part of the appeal is the transgressive nature of the movement.
“We’ve been brainwashed to think that our car is a status symbol of wealth, status in society, sanity,” Blank said. “You’re messing with the image of the car, and you’re not supposed to do that.”
Tucson artist Diane Bombshelter said pushing those boundaries could be inspiring.
“Breaking that taboo opens people’s minds. It doesn’t have to be a certain way; it can be this way, too,” she said. “A little kid sees it, and next thing you know, he wants to be an artist or wants to be an art car artist. That’s fabulous.”
Bombshelter has made two art cars so far. One of them, Bottle of Doom, is at the Art Car World museum. Taking part in an art car parade in San Francisco as a guest of Bisbee artist Kathleen Pearson motivated her to make her own, she said.
“Just to see the look on people’s faces — they instantly smile, and they start waving and get all excited,” Bombshelter said. “It was infectious, their joy. I wanted to do that. I wanted to bring art to the public, instead of the public having to go to an art gallery.”
The irony of setting up a museum for art cars is not lost on Blank, who said a vital component of any art car is that it is, well, a car.
“That’s where all the magic is,” he said. “They’re nice here for you seeing them in one place, but they’re really much nicer driving around.”
Still, the museum offers not only a great opportunity for people to see the cars, but also a way to preserve what can be an ephemeral art form.
Owners have generally donated their art cars to the museum, which is a nonprofit.
“Either they get old and they can’t take care of it or parking is a big problem so they don’t know where to put it,” he said. “Rather than let it go to hell in the front yard, they put it here.”
The Art Car World museum came to Douglas thanks to Bisbee artist Pearson, who convinced Blank that he would find cheap land and a better fit in the border community.
“The architecture is lovely in Douglas,” she said. “The people are lovely.”
Pearson, who made her first art car in Bisbee in 1990, is represented in the museum by Love 23, a station wagon covered with 5,000 pop-culture objects on the outside and 1,000 more on the inside.
Following her advice, Blank visited Douglas, and in 2005, bought the old Nelson’s Glass building on Eight Street, with hopes of opening the museum fairly quickly.
The building was in disrepair, but he saw its potential as a multidisciplinary art space.
“Then I learned the hard way how much it takes to make a new roof, because that roof was caving in,” he said.
With help from like-minded members of the community, Blank has slowly moved toward opening the museum to the general public. In 2011, he bought the building on Ninth Street and moved the art cars there.
On a weekday in late November, Blank finished setting up metal I beams to support the roof.
“We had to do it to code, we had to have it engineered. People are shocked by that, and I was shocked doing it,” he said. “We’re going to move these big metal beams?”
His plan for both buildings is to not only have the museum, featuring space for each car with video monitors showing the story behind their creation, but to also offer artist workspaces and living quarters.
He wants to connect the two properties and add a gazebo to the top of the Nelson’s Glass building, and on top of that have a turntable with a replica of his Oh My God car serving as a beacon of art, Blank said.
Even in its unfinished state, the museum has attracted visitors from all over the world, he said. He has already had interest on the upstairs artist rooms, which he hopes will be ready in May.
“You’ll enter into a world. A world where art is king and everything is about art — making art, selling art, living art,” Blank said. “That’s the big dream.”
Article VIA: Arizona Daily Star
Images by A.E. Araiza / Arizona Daily Star
We are proud to announce the arrival of “Stumper” by Brian Visker. As you will see from his web site, Visker is an amazing artist extraordinaire. In addition to Stumper he has created Oojah and Noggin Del Fuego. Hunter Mann of Art Car World recently completed the touch up painting and Stumper is ready to exhibit. We just need to finish the building which is coming along – more on that in a bit. Thank you Visker.
Here are a couple of photos that Harrod took recently, to give you some idea of the magnitude of the roof replacement job that the Art Car World crew are doing on the main building. They’ve discovered that there are no fewer than 18 layers of asphalt rolled roofing up there! Evidently the previous owners over the last few decades found it easier just to keep adding new layers, rather than remove roofing material as it wore out. And of course as they added more layers, the weight caused the roof to start sagging more and more, and consequently leaking more, and requiring more layers…
So now it’s unavoidable. All of that nasty old asphalt has to be wrestled loose, little by little, while trying to keep the resulting dust out of one’s eyes and nose and mouth. And then the sagging structure has to be replaced with new trusses, etc. Here we see Kevin Ratliff and Francisco Valencia attacking the mess with pry bars. Behind them is another section waiting to be demolished, while at the bottom right is a gleaming section of new roof already completed. In all, the roof is over 11,000 square feet, so this is no small undertaking.
On March 14, Bob Castaneda and Joy Davis (of the wonderful Radio Fiyer art car) were here to volunteer their time to help paint the exterior of the building. They even donated the paint! Here’s a photo of Bob (left) and Hunter Mann hard at work. This shot shows only a fraction of the surface that they ultimately painted. And that’s just the primer coat — there are still two more coats to go. Bob and Joy are on their way here from California as I write this, to help the local crew finish the job. We’re looking forward to seeing their smiling faces.
And while we’re at it, here’s a shot of Kevin Ratliff (left) and Francisco Valencia repairing stucco on the front of the Art Car World building. Good job, guys.
We’re thrilled to announce that the fabulous Jewel Box car has arrived at Art Car World! If it’s been a while since you’ve seen Wild Wheels, pull out your copy of the DVD and watch the segment about Jay Battenfield (or read about it in the Wild Wheels book). It’s a heartwrenching story. But the ultimate result was this beautiful and priceless art car. The late Mr. Battenfield’s estate donated it to Art Car World in 2010, and it arrived here from Amarillo, Texas, on March 31, 2011. Harrod says when he was filming the car for Wild Wheels all those years ago, he never imagined that it might someday end up under his own care. It needs some cleanup and restoration, but we look forward to having it on display eventually.
Sunday continued positively despite the rough trade in Oro Grande, and we headed off to Joshua Tree under very pretty, overcast skies.
First stop: the Integratron. We were invited there by Bonnie & George Kopp, who own the True World Gallery in Joshua Tree. The Kopps met Gretchen and Kate in Bisbee (both ArtCar artists), who told them about our trip. Not only did they arrange with Nancy, The Integratron owner, for us to get a free sound bath, they also fed us lunch. Our reception was grand and the ArtCars were parked around the Integratron dome. The Sound Bath was very relaxing “ lying on our backs looking up at the beautiful ceiling listening to music played on 9 quartz crystal singing bowls. The building itself was evidently designed to be part of a giant, hybrid-tesla-coil machine, which would alter matter in the manner of the Philadelphia Experiment. Its creator, George Van Tassel, did not finish it.
Lunch was great too, and we met some local artists including Bobby Furst, who really dug the aged patina of Daisy Singer and invited us to his studio.
Before that, however, we headed off to the amazing outdoor museum of Noah Purifoy. Seven acres of amazing assemblage, and it looked better than ever as obviously some refurbishing had recently taken place. This art installation is kept up by a foundation (Ed Ruscha is a big supporter).
Noah Purifoy was a great artist who worked on this place into his 90s. The ArtCars met him briefly during our 2003 tour, and he died shortly after that. It’s hard to describe this place, except to say it’s some of the best found-object sculpture on the planet, covers a large space out in the desert, and that you can’t see everything in one visit. Photos really don’t capture it, although it’s hard to take a bad picture here.
After communing with Noah for an hour or so, we meandered over to Bobby Furst’s studio, which is in a idyllic location next to the entrance of the national park. He’s got a ranch house, silver Quonset hut, and an airstream there – all of it chock full of cool found objects and sculpture. Inside his studio, massive beams hold up a loft room, and his bathroom is covered in copper. It’s a palace of Elastic Symbolism.
As if we weren’t already overwhelmed with a full day of visual beauty, the skies formed an amazing backdrop for all the art we saw. Lenticular clouds hung like UFOs all day, and then as the sun set it the sky exploded with color.
We floated off to our campsite in the big rocks, intoxicated with all that we saw.
We all got up early and headed off to Elmer Long’s Bottle Tree Forrest in Oro Grande, right on route 66. It’s a great installation. The bottle trees function as very beautiful pedestals for his assemblages, which are mounted on the top.
Elmer says he discourages donations because he’s happy. His wife, Linda, is happy too (Elmer does the dishes). I told him I’m retired from my day job to do assemblage full time and (do the dishes) too. It’s the way to be.
As is often the case with eccentric artists (like ArtCar folk) Elmer was welcoming, lucid, and articulate and his good vibe was infectious. Completing the analogy was Elmer’s dog, Charlie.
We went down route 66 a piece and stopped at the first service station at Oro Grande Center. It didn’t have restrooms so we walked across the street to a park with public bathrooms, but were immediately confronted with friendly, but quite sleazy park denizens. Raya tried to use the ladies room but a lady in there was shouting “Hello” Theresa is that you?” “hello?” Raya tried to communicate at first, but then decidedly wisely that the woman was circling the airport and the ladies room was out of order. Theresa, in fact, was outside accosting a gentleman who was trying to compliment our cars. Half his nose had been shot off or bitten off (not recently). He tried to brush her off:
Nose-man: “Why don’t you leave me alone?”
Theresa: “Why don’t you leave this park alone?”
“Can you PLEEZE not get in a fight do DAY!”
It was clear from her intonation and his face that she was referring to fisticuffs with strangers not squabbles with her. It wasn’t the only hint that we needed to vamoose so we started to mosey, but just at that minute Ken wandered into the men’s room so we all spent an uncomfortable couple of minutes chatting with half a dozen tweaked out desert rats.
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