A 1951 art exhibition would change the way we viewed the automobile forever.
Since the Museum of Modern Art (MoMa) was founded in 1929, it has been a leading proponent of contemporary and modernist art, encompassing not only what is commonly known as fine arts, but architecture, product design, photography, film, installations and electronic media.
Perhaps the most influential host to the conversation around latter-day aesthetics, its current location, designed by architects, Philip Goodwin and Edward Stone in 1939 on New York’s West 53rd street has staged some of the most celebrated and controversial art exhibitions of the 20th century.
Autocar gets its hands on a Ford Thunderbird for a full road test. Its conclusions might surprise you.
While the original 1955 Ford Thunderbird had proven a critical success, its sales were hampered by its two-seat layout and high price; a matter which was remedied in 1958 by the second-generation ‘Square Bird’, a bigger, more ornate looking four-seater personal luxury car.
With sales in the region of 200,000 over its three-year run, the ‘Square ‘Bird’ not only codified the T-Bird template, but became a sizeable profit earner. The third generation, dubbed ‘Bullet Bird’ was introduced in 1961. Its styling, said to have been the work of Alex Tremulis and based on jet fighter iconography and was chosen in favour of a rival design by Elwood Engel, which would itself go on to Continue reading “Riding the Jet Bird”
It is up against almost everyone selling a car for more than 50,000 euros. Almost any car firm can produce a very impressive interior if they put their mind to it**. Take a look at the two images in the slide show and have a guess which one is the most recent. Then we’ll take a little look at what you can sit in for less than the kind of money Maybach/Mercedes might ask for.
The legacy of the 1961 Continental lays heavily upon Ford’s Lincoln division. Today we begin an examination of two concepts aimed at re-establishing that defining car’s visual pre-eminence.
Europe does not have a monopoly on history or heritage. Long shadows of the past also haunt the American automotive landscape, as the big-name US automakers struggle, just like their European counterparts, to reinterpret the past while straining for relevance in a rapidly approaching future.
Everyone else is doing it so why can’t we? That was the plaintive question asked by Irish folk-rock-pop balladeers the Cranberries in 1993.
The Cranberry question applies to Ford’s Lincoln division who must be squirming in their corporate seats. The Genesis G90 saloon will be sold with a V8 as we well know and it looks the part. The other day Car & Driver revealed more details of the V8 Cadillac will be fitting to their CT6 which also looks the part. Considering that Genesis is a newish entrant in the upscale V8 market and that Cadillac is selling fewer cars than they were a decade ago (and so short of cash), Ford’s unwillingness to Continue reading “Oh No, Not Again”
As Lincoln’s Simon Woodhouse gets a quilted leather handbag in the chops courtesy of his Bentley opposite number, are the designer gloves off for good?
This week’s pique-fest courtesy of Bentley’s Luc Donckerwolke is interesting for a number of reasons. Firstly, it breaks a tacit understanding that rival stylists do not publicly criticise one another’s work. Secondly, it prompts the question, is it possible to Continue reading “Continental Drift”