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The Art of the Motorcycle was an exhibition that presented 114〔There were about 19 pre-20th century motorcycles shown in NYC along with the 95 in the official catalog, totaling 114 by most accounts. Some news media gave varying reports of the exact count (from 105 to as high as 140). Later exhibitions in other venues made substitutions, additions and deletions from the original collection.〕 motorcycles chosen for their historic importance or design excellence〔Sawetz. "The Art of the Motorcycle is curated by Thomas Krens, Director of the Solomon R. Guggenheim Foundation, with the help of a team of experts: curatorial advisors Ultan Guilfoyle of the Solomon Guggenheim Museum and University of Arizona Physics Professor Charles Falco; exhibition co-ordinator Manon Slome, and the Guggenheim Museum Bilbao Curatorial Department. Works displayed are on loan from the Barber Vintage Motorsport Museum, the Munich Deutsches Museum, and the Otis Chandler Museum of Transportation and Wildlife, among others. () The exhibition brings together motorbikes renowned for their extraordinary design and innovative use of technology."〕 in a display designed by Frank Gehry in the curved rotunda of the Frank Lloyd Wright-designed Solomon R. Guggenheim Museum in New York City, running for three months in late 1998.〔Kinsella (1998)〕〔 The exhibition attracted the largest crowds ever at that museum,〔Plagens (1998)〕 and received mixed but positive reviews in the art world, with the exception of some art and social critics who rejected outright the existence of such a show at an institution like the Guggenheim, condemning it for excessive populism, and for being compromised by the financial influence of its sponsors.〔〔 The unusual move to place motorcycles in the Guggenheim came from director Thomas Krens, himself a motorcycling enthusiast, supported by a novel corporate tie-in with BMW.〔 The motorcycles were chosen by experts including Krens, physicist and motorcycling historian Charles Falco, Guggenheim advisers Ultan Guilfoyle and Manon Slone, and others.〔 The exhibition was described by historian Jeremy Packer as representing the end of a cycle of demonization and social rejection of motorcyclists, followed by acceptance and reintegration that had begun with the mythologized Hollister riot of 1947 and ended with the high-end marketing of motorcycles and the newly fashionable biker image of the 1980s and 1990s.〔Packer (2008) pp 154-159〕 Or at least the show served as "a long-overdue celebration of the sport, the machines and the pioneers they love."〔McCraw (1998)〕 The exhibition was the beginning of a new trend in profitable, blockbuster museum exhibits,〔Overholser (2008)〕 foreshadowed by The Treasures of Tutankhamun tour of 1972-1979.〔 Questions over the museum's relationship with corporate financial sponsors, both in this show and the tribute to the work of fashion designer Giorgio Armani (on the heels of a $15 million pledge to the museum from Mr. Armani) that followed shortly after, contributed to soul searching and the drafting of new ethical guidelines by the Association of Art Museum Directors.〔Vogel (1999)〕〔''The Economist'' (2001)〕〔Green (2005)〕 == Exhibition == The catalog of the exhibition covered a broad range of historic motorcycles starting from pre-20th century steam-powered velocipedes and tricycles, covering the earliest production motorcycles, Art Deco machines of the 20s and 30s, iconic Harley-Davidsons and Indians, British roadsters, and on up to the striking race replica street bikes of the 80s and 90s, ending with the MV Agusta F4.〔 The idea of the show was to use motorcycles as a way of surveying the 20th century, exploring such themes as mobility and freedom in a way that cars can no longer do because they are too commonplace and utilitarian, while motorcycles retain a unique romance.〔 The interior of the Guggenheim's spiral ramp was covered in reflective stainless steel, a design by Frank Gehry, with a stylized pavement under the tires of the exhibits, and the bikes not leaned over on their kickstands, but rather standing up, as if in motion, held by thin wires and small clear plastic chocks under the wheels.〔 Early examples from the 19th century, steam cycles and three wheelers mostly, were in a single room near the entrance. The first series produced motorcycle, and the first motorcycle included in the exhibition catalog proper, the 1894 Hildebrand & Wolfmüller stood outside the gallery.〔 The exhibition also featured a film exhibit, "The Motorcycle on Screen," with Easy Rider director Dennis Hopper speaking, and clips from that film as well as the Buster Keaton silent film Sherlock, Jr., Andy Warhol's Bike Boy, and the TV show CHiPs.〔 The year 1998 coincided with the 50th anniversary of Honda motorcycles, the 75th of BMW motorcycles and the 95th of Harley-Davidson.〔 Fifty-four collections loaned motorcycles,〔 with the greatest number lent by the Barber Vintage Motorsports Museum,〔〔 and the Chandler Vintage Museum of Transportation and Wildlife.〔 BMW's interest in the world of fine art was not unprecedented, as that company had experimented with commissioning prominent artists to paint some of their race cars in the 1970s, leading to the collection, the BMW Art Cars,〔BMW in the Community (2009)〕 becoming an ongoing project exhibited in the Louvre, Guggenheim Museum Bilbao, and in 2009, at the Los Angeles County Museum of Art and New York's Grand Central Terminal.〔Powell (2009)〕 The Chicago Field Museum exhibition presented 72 of the original collection's motorcycles, and added details such as coverage of the Motor Maids women's motorcycling club founded after WWII. That show also added a participatory group motorcycle ride open to 2,000 bikers at a cost of US$ 50.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Art of the Motorcycle」の詳細全文を読む スポンサード リンク
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