THE ART OF LE MANS

The Jeff Koons BMW Art Car was unveiled June 1st, 2010 at the Centre Pompidou in Paris, the same place Roy Lichtenstein first presented and signed his Art Car in 1977.

In the spirit of Calder, Stella, Lichtenstein, Warhol, BMW announced this year that the 17th Art Car created by Jeff Koons will race where the first rolling pieces of art by legendary artists raced – at the 24 Hours of Le Mans in France on June 12-13, 2010. Koons’ canvas is a BMW M3 GT2, which was homologated to compete at this year’s running of the world’s most famous endurance race.

The BMW Art Car idea sprung to prominence in 1975 when French auctioneer and racing driver Hervé Poulain had the idea of asking an artist to paint the car he would compete with. Taking up this initiative in 1975, American artist Alexander Calder painted a BMW racing car, thus laying the foundation. The Art Car experiment was soon continued: a year later, Calder Art Car co-driver Sam Posey introduced Frank Stella to the idea of BMW Art Cars when the New York-based artist covered a BMW with his typical grid-like pattern. Stella’s work was followed by a series of celebrated pop artists: Roy Lichtenstein, Andy Warhol and Robert Rauschenberg. Apart from Rauschenberg’s Art Car, all these took part in the Le Mans 24-hour race, some of them enjoying remarkable success.

The germination of Koons’ collaboration with BMW began in 2003, when he expressed his desire to create a BMW Art Car. His relationship with BMW started more than two decades ago when he drove a BMW while residing in Munich, home to the BMW Group headquarters. Koons is known for his heartfelt appreciation of cars. Earlier this year he was even recognized by music icon Bono of U2 as one of the ideal artists to design a car that would make the world fall in love with automobiles again.

Koons’ creative process for the BMW Art Car mirrors techniques, some borrowed from transportation design and development, which he regularly employs for his artistic production. For example, in the creation of Koons’ monumental sculptures, his studio uses 3-D CAD models to evaluate the surfaces, assembles them via methods found in bike chop shops, and paints them in a manner based on sophisticated automotive painting techniques.