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Drive–In: House of Cars

Drive–In: House of Cars

about the project

Drive–In: House of Cars


August 18, 2018

General Information

Black Cube Experimental Group Exhibition 

Drive-In: House of Cars
 is the third exhibition in a series that employs vehicles as a basis for experimental contemporary art.

Titled after a 2010 exhibition at the National Building Museum in Washington D.C. “House of Cars: Innovation and the Parking Garage,” this exhibition Drive-In: House of Cars reimagines the parking garage as a venue for contemporary art.

In this exhibition, eleven Colorado-based artists use their own, or borrowed, cars as inspiration for temporary artworks that explore our multifaceted relationship with automobiles. The artworks in the exhibition expand on how each artist relates to cars as not only forms of transportation, but as an extension of identity, economy, and symbol of freedom. This final exhibition takes us to the common space of a minimalist two-story parking garage located within Denver’s Capitol Hill neighborhood. First developed in the 1920s in the U.S., these structures have grown to dominate the urban landscape and are a significant aspect as to how cities are designed.

At a moment when car culture is dynamically changing nationally (self-driving technology, electric vehicles, U.S. oil surplus) and locally (density, higher traffic), Drive-In: House of Cars offers a place for viewers to ponder how we personify automobiles, beyond the realm of functionality.

Participating Artists:
Jared David Paul Anderson, Christopher Coleman, Joseph Coniff, Megan Gafford, Matthew Harris, Jaimie Henthorn, Jordan Knecht, Marsha Mack, Sophie Lynn Morris, Zach Reini, & John Roemer. 

<p><p>Black Cube Experimental Group Exhibition <br /><em><br />Drive-In: House of Cars</em> is the third exhibition in a series that employs vehicles as a basis for experimental contemporary art.</p></p>

Special thanks to the Bonfils-Stantion Foundation and Palisade Partners for supporting this series of experimental exhibitions. 

Photo credit: Wes Magyar