Cadillac Ranch - Amarillo, Texas - Smithsonian Art Inventory Sculptures on Waymarking.com

Cadillac Ranch is a popular tourist attraction, and easily seen from I-40 and Rt. 66. The cars are all buried 1/3 way into the ground, nose first. The back ends are standing up. The sign at the gate to the wheat field warns visitors that spray painting/grafitti is only allowed on the field side of the fence, NOT on the state-owned I-40 service road side.
Cans of paint are near the cars, and visitors can repaint the cars to their liking. For this reason, the sculpture is continually changing and will look different day to day. You can climb into the cars and peer out for photos, which is what most people do at the site.

From the Smithsonian Art database:

Description:

Site installation of ten Cadillacs buried nose down and tail fins up. The cars are of various vintage, from 1948-1964. The cars are buried in a long row in a wheat field.

Remarks:
The sculpture was commissioned by Stanley Marsh III and is located on his ranch along Route 66. The cars were purchased locally for a cost averaging $200 per car. In 1989 the sculpture was painted gray for the filming of a television commercial. IAS files contain copy of related excerpt from Chip Lord's "Automerica: a Trip Down U.S. Highways from World War II to the Future", New York: Dutton, 1976. IAS files contain copies of related articles from Globe News (Amarillo, TX) Nov. 28, 1989 and Nov. 24, 1992. For further reading see Texas Monthly, July 1994.

TITLE: Cadillac Ranch ARTIST(S): Ant Farm, design firm. Michels, Doug, 1943-2003, sculptor. Lord, Chip, 1944- , sculptor. Marquez, Hudson, 1947- , sculptor. DATE: 1974. MEDIUM: Painted Cadillacs. CONTROL NUMBER: IAS TX000806 Direct Link to the Individual Listing in the Smithsonian Art Inventory: [Web Link] PHYSICAL LOCATION: I-40 service road (south side), just west of Hope Rd. DIFFERENCES NOTED BETWEEN THE INVENTORY LISTING AND YOUR OBSERVATIONS AND RESEARCH: none

Visit Instructions:
Please give the date of your visit, your impressions of the sculpture, and at least ONE ORIGINAL PHOTOGRAPH. Add any additional information you may have, particularly any personal observations about the condition of the sculpture.

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