Spoiler alert: Fondation Cartier’s blockbuster car photography show gets into gear

The Fondation Cartier has devoted its entire exhibition space in Paris to a new show on cars – hundreds of them – without featuring a single actual vehicle. Instead, the fittingly named ‘Autophoto’ is focused on car-related photography from the early 20th century through the present, with various themes sending visitors through winding gallery lanes to discover works by the likes of William Eggleston, Robert Frank, Daido Moriyama, Ed Ruscha, Joel Meyerowitz, Seydou Keïta, Germaine Krull, Martin Parr, Hiroshi Sugimoto, Edward Burtynsky and at least 80 talents.
With over 500 images, the show ranks among the Fondation Cartier’s largest to date; and yet the show steers clear of visual overload, in part because so many of the photos occur as series – an obvious parallel to the manufacturing of cars. Indeed, Fondation Cartier curator Leanne Sacramone told Wallpaper* that when curators Xavier Barral and Philippe Séclier first proposed the idea, one of their more compelling points was the shared history of both car and modern camera and how such notions as speed – whether via engine or shutter – and reproducibility are inherent to both.
From the ‘Los Alamos’ series, by William Eggleston, 1965-1968.
But the thematic possibilities didn’t end there, as the groupings of works makes clear. The opening section is titled Auto-Portraits, a clever double entendre given that this is the French term for ‘self-portrait’. Here, visitors will find a wide range of aesthetically-motivated representations, from Yasuhiro Ishimoto’s elegant series of old cars dusted with snow, to Fully Fueled, Basile Mookherjee’s snapshots of young men from the United Arab Emirates, their flashy sports cars, and the towers that soar above, which altogether depict how such status symbols project their self-worth. Also on the main level are the images that clearly show how photographers such as Lee Friedlander, Robert Adams, Martin Parr, and Andres Gursky use cars as part of their process, framing the scene through a window, using the rear-view mirror for distorted perspective, documenting infrastructure, or situating the vehicle within a landscape to emphasise scale.
The lower gallery, meanwhile, reveals the creative license that photographers have employed when considering the sociological aspects of cars – how, beyond their utility, they reflect and relate to our way of life. Among the works that fall into this category are Jacqueline Hassink’s Car Girls, a projected mosaic of the women on view at car shows around the world, which she spent six years compiling, as well as Stéphane Couturier’s stylised and superimposed view of a Toyota factory, or else Jean Pigozzi’s paparazzi candids of Liv Tyler and Jack Nicholson from inside their cars.
‘MELT, Toyota n° 8, Melting Point series, Usine Toyota, Valenciennes’, by Stéphane Couturier, 2005. Collection of the artist.
The final section, Car Excavations, will register to some visitors as most evocative, for it is here that the show explores the afterlife of the automobile and its confrontations with nature; Sugimoto’s washed up car parts, Burtynsky’s stark tire heaps, and Peter Lippmann’s automobiles consumed by forest overgrowth suggest the traces left behind.
Sacramone noted that the exhibition isn’t intended to impart any ‘grandiose’ takeaway as much as using the automobile as the common link to showcasing outstanding photography across time. The fact that show takes place in Paris where, despite ever-present traffic, few city-dwellers really drive, grounds the theme in somewhat ironic context.
‘There’s something to be said for that,’ she agreed, noting how the French have long held a fascination for the American road trip (to wit, curator Séclier made a documentary tracing the path of Frank’s famous book, The Americans). Wearing a wheel-inspired metal brooch designed by Constance Guisset, who oversaw the scenography, Sacramore noted how the show’s deep dive will have broad appeal to those who are not auto aficionados. Because aside from all the self-contained journeys, many of the photos prove how our interactions with cars can prove so moving.
Tribute to Giorgio de Chirico, by Luciano Rigolini, 2017. Appropriation (unknown photographer, 1958).
Légende, from the Windows series, 2009.
Coaster Ride Stealth, by David Bradford, from the Drive-By Shootings series, 1994.
Woman Waiting to Proceed South at Sunset and Highland Boulevards, Los Angeles, at Approximately 11:59 a.m. One Day in February 1997, by Andrew Bush, from the Vector Portraits series, 1997
Grand Prix de l’ACF, Automobile Delage, Circuit de Dieppe, 26 juin, by Jacques-Henri Lartigue, 1912.
Car Poolers #12, by Alejandro Cartagena, from the series The Carpoolers, 2011-2012
Studio portraits, China, collected by Thomas Sauvin, c1950.
Installation view of ‘Autophoto’ at Fondation Cartier.
From the ’Los Alamos’ series, by William Eggleston, c1974.
OJ Simpson n°5, by Juergen Teller, 2000.
On the Acapulco road, Mexico, by Bernard Plossu, from the Voyage Mexicain series, 1966.
Hintere Kotflügel, by Peter Keetman, from the Eine Woche im Volkswagenwerk series, 1953.
280 Coup, by Justine Kurland, 2012.
Zizka Cleaners car, Buick Electra, by Langdon Clay, from Cars, New York City, 1976.
Untitled, by Ronni Campana, from Badly repaired cars, 2015.
Montana, from the America by Car series, 2008.
Untitled, by Seydou Keïta, 1952 - 55. Courtesy of CAAC – The Pigozzi Collection, Geneva.
Taximan avec voiture, by Malick Sidibé, 1970.
Washington, DC, by Ray K. Metzker, 1964.
Traction Citroën 7, by Peter Lippmann, from the ’Paradise Parking’ series.
Cerimônia do Adeus series, by Rosângela Rennó, 1997–2003.
Untitled, by Valérie Belin, 2002.
INFORMATION
‘Autophoto’ is on view until 24 September. For more information, visit the Fondation Cartier website
ADDRESS
Foundation Cartier
261 Boulevard Raspail
Paris 75014
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
-
Designer Marta de la Rica’s elegant Madrid studio is full of perfectly-pitched contradictions
The studio, or ‘the laboratory’ as de la Rica and her team call it, plays with colour, texture and scale in eminently rewarding ways
By Anna Solomon Published
-
‘Nothing just because it’s beautiful’: Performance artist Marina Abramović on turning her hand to furniture design
Marina Abramović has no qualms about describing her segue into design as a ‘domestication’. But, argues the ‘grandmother of performance art’ as she unveils a collection of chairs, something doesn’t have to be provocative to be meaningful
By Anna Solomon Published
-
A local’s guide to Los Angeles by defiant artist Fawn Rogers
Oregon-born, LA-based artist Fawn Rogers gives us a personal tour of her adopted city as it hosts its sixth edition of Frieze
By Sofia de la Cruz Published
-
‘The Black woman endures a gravity unlike any other’: Pharrell Williams explores diverse interpretations of femininity in Paris
Pharrell Williams returns to Perrotin gallery in Paris with a new group show which serves as an homage to Black women
By Amy Serafin Published
-
What makes fashion and art such good bedfellows?
There has always been a symbiosis between fashion and the art world. Here, we look at what makes the relationship such a successful one
By Amah-Rose Abrams Published
-
Architecture, sculpture and materials: female Lithuanian artists are celebrated in Nîmes
The Carré d'Art in Nîmes, France, spotlights the work of Aleksandra Kasuba and Marija Olšauskaitė, as part of a nationwide celebration of Lithuanian culture
By Will Jennings Published
-
Out of office: what the Wallpaper* editors have been doing this week
Investing in quality knitwear, scouting a very special pair of earrings and dining with strangers are just some of the things keeping the Wallpaper* team occupied this week
By Bill Prince Published
-
Tom Wesselmann’s enduring influence on pop art goes under the spotlight in Paris
‘Pop Forever, Tom Wesselmann &...’ is on view at Fondation Louis Vuitton in Paris until 24 February 2025
By Ann Binlot Published
-
Miu Miu’s Women’s Tales film series comes to life for Art Basel Paris
In ‘Tales & Tellers’, interdisciplinary artist Goshka Macuga brings Miu Miu’s Women’s Tales film series for Art Basel Paris to life for the public programme
By Amah-Rose Abrams Published
-
Art Basel returns to Paris: here is everything to see and do
Art Basel Paris 2024 (18 - 20 October 2024) returns, opening at the newly renovated Grand Palais
By Amah-Rose Abrams Published
-
Elmgreen & Dragset explore contemporary masculinity in Paris
We visit Elmgreen & Dragset at their Berlin studio ahead of new exhibition ‘L’Addition’ at Paris’ Musée d’Orsay, a subversive take on the classical form
By Hannah Silver Published