The Pontiac Transportation Museum is the newest entry into the Southeastern Michigan automotive museum collective. Housed in a former elementary school in Pontiac, Michigan, it will officially open to the public in mid July 2024. As a member of the MotorCities National Heritage Area, I was able to attend a private tour and presentation this past Wednesday evening. The museum will be constructed in stages; while phase one is currently complete, there are three more phases scheduled to be developed over the next few years. Our group not only toured the completed section, but were also offered a ‘sneak peek’ at what’s to come.
Pontiac factory workers
The Pontiac Transportation Museum is an institution of both place and auto manufacturer. While the museum tells the story of the auto maker’s rise and fall, it also endeavors to connect to the community and is involved in energizing its development and revitalization. As noted in a story in the Detroit Free Press, the intent of the museum is to reflect the ‘place, people, and its stories.’
Restroom Photograph
As a new museum with limited artifacts on display, I did not expect to find many representations of women in the automotive exhibits. My first encounter with such images was in, of all places, the women’s restroom, which displayed three oversized color photos of women driving Pontiac vehicles from the late 1950s and early 1960s. I was later told by one of the tour guides that much consideration was given to the restroom as ‘that is what is most important to female visitors.’ I had to squelch a guffaw.
Woman’s car story
Other representations in the museum included advertisements, photographs, and promotional materials. There were interactive displays which featured photos of women in various decades of the automaker’s history as drivers, consumers, and workers. As was mentioned during the tour, the majority of vehicles on display are donated and are primarily ‘one owner’ cars. There were a few automobiles with female donors that included stories of how the car was acquired as well as personal automotive histories. While touring one of the yet-to-be developed sections, our attention was brought to three Pontiac Firebirds specifically developed for the female market. As our guide explained, the Skybird [blue] was offered from 1977-78, the Red Bird for 1978-79, and the Yellow Bird in 1980.
Yellow Bird
While there weren’t a lot of examples of women’s relationship to cars on the floor, the slide presentation provided a philosophy of the museum that was very much geared toward diversity and inclusion. As is noted on the museum’s website, ‘a very significant part of the PTM’s mission involves educational outreach to the community – particularly STEAM-related education in Pontiac primary, secondary, and vocational schools.’ The museum is positioning itself as not just a collection of cars, but as a source for Pontiac’s social history; i.e. how the car manufacturer affected the city in which it existed as well as the people who drove its cars and made its products. The presentation also made note of the PTM’s ‘female empowerment mission’ and included photographs of visiting girls and women’s groups as well as influential women within the industry.
Girl Power
Living in the auto-rich area of Southeastern Michigan has provided me with unique opportunities to not only visit a number of automotive museums, but to attend special events such as this private tour of the soon-to-be-opened Pontiac Transportation Museum. I look forward to watching the PTM’s progress over the next several years.
In my quest for evidence of women’s automotive history in museums centered on the automobile, one of the categories I encountered from time to time was the ‘special exhibit.’ These exhibits are often put together to commemorate certain events in women’s history. The 100th anniversary of women’s suffrage in 1920, which unfortunately occurred during COVID, was an occasion to assemble various artifacts related to women’s attainment of the vote. The automobile was an important tool in the suffrage campaign. In the spring and summer of 1916, the transcontinental suffrage tour from New York to San Francisco was one of the actions taken to spread the word of the importance of the women’s vote as well as “to persuade male party leaders to include woman suffrage platforms at both the Republican and Democratic national convention” (Lesh 136). The automobile was not only called upon as the primary mode of transport, but also served as a platform on which to speak and the means of a quick getaway should crowds get hostile. It is not surprising, therefore, that the anniversary of women’s enfranchisement was a popular motive for a women’s automotive history exhibit, even though the pandemic caused many of the displays to be postponed a year or two.
‘Women Who Motor’ at the Edsel & Eleanor Ford House
‘Women Who Motor’ was such an exhibit. It made its debut at the historic Edsel and Eleanor Ford house in the Detroit suburbs, then moved to the Gilmore Car Museum in Hickory Corners, Michigan. The display featured a reproduction of the Motorwagen driven by Bertha Benz to advertise her husband’s invention, an 1899 Locomobile steam runabout like the one Joan Newton Cuneo purchased to enter the AAA’s inaugural Glidden Tour, as well as stories and photographs featuring female automotive legends including Alice Ramsey, Helene Rother, Margaret Elizabeth Sauer, Audrey Moore, Betty Skelton, and Danica Patrick. As the Gilmore teams notes, “this exhibition offers a glimpse into the world of women and the automobile. It is designed as a jumping off point for your own exploration into how the automobile has influenced women, and how women have influenced the automobile.”
Special Exhibit at the Saratoga Automobile Museum
Women’s History Month is also an occasion to draw attention to women’s automotive achievements. While many museums create special displays to honor women in automotive, they are often are a collection of artifacts the museum already possesses, grouped together for the month of March. As Helen Knibb writes, “The first and often only opportunity curators may have to introduce women’s history to the public comes through temporary exhibitions on special themes. But temporary exhibitions exist for a fixed period and are then dissolved” (356).
Chrysler driven by Vicki Wood, on display at the Henry Ford Women’s History Month exhibit
The Henry Ford created a number of these exhibits in March 2024. While the displays included female achievements in a wide variety of endeavors, special attention was given to women’s relationship to the automobile. Within the Henry Ford museum a display was created to celebrate women in racing. Featured artifacts included the Chrysler 300 driven by Vicki Wood at Daytona Beach in 1960, the racing glove worn by Janet Guthrie in the 1977 Indianapolis 500, as well as Sarah Fisher’s racing suit, worn during her third place finish at the Kentucky Speedway in 2000. The Ford Rouge Factory Tour, park of the Henry Ford experience, focused on significant innovations and contributions to the automotive industry made by female inventors and entrepreneurs. Accompanying the main exhibit were interactive displays that offered adults and children the opportunity to engage in Women’s History Month activities
‘She Drives’ exhibit at the Automotive Hall of Fame
I recently had the opportunity to visit a special exhibit at the Automotive Hall of Fame. ‘She Drives’ celebrates racing’s pioneering women. The exhibit includes stories of 11 inspiring women “shaped through their stories artifacts, and cars that shaped their paths.” Featured race car legends include Bertha Benz, Janet Guthrie, Lyn St James, and Shirley Muldowney. There is also an opportunity to participate in the She Drives Road Tour, which includes a visit to the exhibit at AHF as well as stops at other museums and places of interest in the metropolitan Detroit area.
Lowrider at the California Automobile Museum special exhibit
While racing and suffrage are common women-in-automotive-history exhibit themes, the most unusual and fascinating exhibit I encountered was that of female low riders featured at the California Automobile Museum this past April. This exhibit was not just a collection of artifacts packed away in the museum’s archives, but a carefully constructed original display that imaginatively reflected the region’s lowrider history and culture. I suspect that this is a traveling exhibit that will eventually make its way to other museums in the state.
From The Henry Ford
While special exhibits provide an opportunity for automotive museums to draw attention to women’s relationship to the automobile, it is unfortunate that such attention is most often limited to special occasions. Such exhibitions, Knibb argues, require museums “to reassess the balance of exhibition theme and included the ‘underside’ of history, topics which have traditionally been poorly documented or under-represented in exhibition” (357). As Knibb notes, museum collections are often shaped by what the museum has – the ‘survival of objects and the personal tastes of donors’- rather than by any planned efforts to collect and develop artifacts representative of women’s automotive participation (361). Perhaps increased attention to women’s automotive history within the museum would plant the seed for additional informative, educational, and inspirational donations so that women’s contributions would not only be pulled out for ‘special’ occasions, but would be permanently on display as integral to the museum’s automotive collection.
Knibb, Helen. “Present But Not Visible: Searching for Women’s History in Museum Collections.” Gender & History 6, 3 (November 1994): 352-369.
Lesh, Carla R. Wheels of Her Own: American Women and the Automobile, 1893-1929. Jefferson NC: McFarland & Company, 2024.
The history of women and the automobile is a subject that has not received a great amount of attention in scholarship. It wasn’t until 1991 that the first comprehensive history of women’s involvement with the automobile was published. Virginia Scharff’s groundbreaking work, Taking the Wheel: Women and the Coming of the Motor Age, shattered previous presumptions of women’s relationship with the automobile as it set the stage for further research. Australian historian Geogine Clarsen provided a more international approach to women’s automotive history with the publication of Eat My Dust: Early Women Motorists in 2008. Katherine Parkin, a social historian and professor at Monmouth University, examined the history and social implications of women driver stereotypes in Women at the Wheel: A Century of Buying, Driving, and Fixing Cars in 2017. While each of these publications are important contributions to the field of women’s automotive history, the focus of each analysis is White women. The assumption, therefore, is that all women, regardless of class, color, or ethnicity, experienced automobility in similar ways.
Entrepreneur CJ Walker at the wheel of her Model T Ford in 1912
Transportation historian Carla R. Lesh, in Wheels of Her Own: American Women and the Automobile, 1893-1929, broadens the scope of women’s automotive history to include the early experiences of Black and Indigenous women. Writes Lesh, “the automobile offered new freedoms: freedom for all Black women from the danger they encountered on public transportation in the era of increasing segregation; freedom for Indigenous women to rebuild cultural, kinship-based, and economic networks shattered by Federal government policies; and freedom for White women from the restrictions of the sheltered, home-centered life of the Victorian era” (2). Yet as Lesh notes, although the majority of women appreciated the automobile as a useful tool to improve their quality of life, gender and racial restrictions often qualified how that freedom might be achieved.
Philip and Eugenia Wildshoe (Coeur D’Alene) and family in their Chalmers automobile, 1916
Lesh places the automotive experiences of White, Black, and Indigenous women into relevant social and historical contexts. Rather than generalize automotive experiences as common to all women, Lesh examines how social factors – including discrimination, geography, and cultural practices – influenced women’s automotive participation. As minorities, Black and Indigenous women’s automotive experiences had more in common with men of their respective populations than White women. Thus Wheels of Her Own does not focus exclusively on female motorists but also considers the social climate in which women took the wheel. Lesh provides valuable insight into how women negotiated entry into the new technological world which, due not only to gender, but also to race, ethnicity, and class, was not always welcoming.
Lesh’s fascinating and important new work is a timely addition to current scholarship focused on the history of women and cars. As an investigation of the divergent automotive experiences of Black, Indigenous, and White women, Wheels of Her Own is a valuable resource for the historical and social exploration of gender, race, and mobility during the early automotive age.
Suffragists leaving New York City in a ‘Golden Flyer’
When asked how I wanted to celebrate a big birthday, I had a one word answer – baseball. Since my birthday is at the very start of baseball season, my husband and I decided to take a trip to northern California where we would be able to visit one major league and six minor league ballparks in just over a week. Forgetting how vast the state of California is, we decided to stay in one location and travel each day to a different stadium, as well as a couple of National parks. It turned out to be a not-so-great idea as we spent way too much time in a, dare I say, crappy rental car. The weather cooperated for the most part – it started out cool at the beginning of the trip and warmed up a little each day. Minor league games are always a hoot and the California Single and Double A teams did not disappoint.
Happy 75th [yikes!] Birthday to me
Our first stop, after a long plane ride and jet lag, was Banner Island Park, home of the Stockton Ports. Northern California can be quite chilly at night; I was glad to have my woolen cap and parka. Saturday evening found us at Excite Park, where the San Diego Giants play. It is an old ballpark with lots of history. The game was made more special by attending it with my old high school friend Pat and her husband Paul, who live in Palo Alto. The AAA teams were pretty awful but entertaining to watch. There were a lot of hit batters, and a player running from second to third tripped and made a somersault [he was out.] Sunday we headed into San Francisco to watch a Giants game. While we’ve been to Oracle Park before [a few names ago] we had great seats in the sun and it was an exciting game – the Giants came from behind in the 8th inning to win. Monday is an off day in minor league baseball and was also my birthday. We spent it at Yosemite National Park where there was still snow on the mountains.
Home of the Fresno Grizzlies
On Tuesday we headed to Sutter Health Park where the Sacramento River Cats play. The weather was starting to warm up – I was able to ditch my parka and enjoy some sun before it set. Wednesday found us at Chukchansi Park [try repeating that three times], home of the Fresno Grizzlies. While the Grizzlies are a Single A team, the stadium was originally built for a Triple A club; it was the largest and nicest park we visited on the trip. Our Thursday trip was to John Thurman Park. It was a small and raucous stadium where the Modesto Nuts play; the team has a Bat Dog, who would scamper out of the dugout to retrieve a bat once the hitter headed to first base. Our last game was spent at Valley Strong Park, home of the Visalia Rawhide. It is an old, small park with plenty of activities to keep the kids occupied.
It was a fun trip and a great way to celebrate my birthday; however, there were a few things I learned. 1. Check the distance between destinations before booking hotels, and 2. Take your own car or splurge on a better one.
During a recent trip to the west coast we made a stop at the California Car Museum in Sacramento. As one of the volunteers told us, the museum began as one individual’s collection of every early model produced by Ford. While the museum has reinvented itself over time to incorporate other makes and models in its collection, many of the original Fords remain. The collection – while inclusive – is very much a museum of place. Among the historical artifacts exists a strong undercurrent of California Car Culture.
1984 Pontiac Grand Prix
This was very evident in the special exhibit taking place during our visit. ‘Rucas y Carruchas’ is an extraordinary collection of female-owned lowriders, accompanied by photographs, videos, artwork, and numerous stories of women’s involvement in lowrider culture. The individual vehicles are spectacular, ranging from first ‘pedal’ cars and lowrider bicycles to massive 50s era Chevys and 80s Pontiacs that have been restored and reconfigured to reflect the personality and character of the owners. Each car is accompanied by a story, relating how the car was acquired, the significance of the design and décor, and the modifications added to make each vehicle one of a kind. The narratives speak of family, community, friendship, heritage, and the meaning of lowriders to the women who own them.
1954 Chevy Bel-Air
Much emphasis is made on the importance of passing down this culture to daughters, who often start off with bicycles and move on to cars after obtaining their driver’s licenses. There are videos, posters, magazine articles, clothing, and a variety of artifacts that demonstrate the vast reach of lowrider culture in the community and the importance of the vehicles to individual and cultural identity. I was extremely fortunate to have caught this exhibit while in town as it will be replaced by another at the end of the month.
The general collection of the museum includes many of the ‘usual’ female automotive references; i.e. Bertha Benz, Amelia Earhart, the selling of electric cars to women, and the contributions of automakers’ wives to company success. However, ‘Rucas y Carruchas’ brings attention to how museums with limited artifacts are often able to create exhibits – whether from their own collections or through loans from other sources – to commemorate women’s achievements or to celebrate a certain moment in women’s history, automotive or otherwise. Such special exhibits are often put together during March to commemorate Women’s History Month. The 100th anniversary of women’s suffrage [2020] was also an occasion for these notable displays, although the pandemic did postpone or reduce many of them. However, as special exhibits, the items often disappear once the ‘event’ passes; consequently, women’s contributions to automotive history remain unacknowledged and unknown.
This exhibit is also unusual in that it features the automotive involvement not only of women, but also that of women of color. Although many museums have made efforts to include notable women in automotive history in their collections, very few have endeavored to feature this important yet underrepresented group. The only other instance I encountered was at the Automotive Hall of Fame – the spectacular “Achievement” exhibit included the contributions of African American women. As these exhibits demonstrate, although often rendered invisible, women of color have been important contributors to automotive history and culture in a number of significant ways.
1967 Chevy Impala
I was extremely lucky to come across ‘Rucas y Carruchas’ during my trip to California. Not only was it an educational and enjoyable way to spend an afternoon, but it brought attention to the importance of special exhibits as unique demonstrations of women’s unrecognized participation in automotive culture.
It’s been a while since I have attended the Popular Culture Association Conference. With the conference going online for two years due to COVID, and cancelations in subsequent years because of air travel complications, I have missed out on the opportunity to present at this annual gathering of nerdy pop culture students and scholars. This gathering in Chicago was almost a no-go as well. Because the session day and time was changed after hotel and plane reservations were made, the majority of presenters, including the Vehicle Culture area chairs, bailed, leaving just two of us to present to each other. Fortunately I was able to move my presentation to a session centered on Libraries, Museums, and Archives. The change, as it happens, turned out to be fortuitous. The many in attendance were attentive, asked lots of good questions, and most importantly, provided helpful feedback. I ran into one of my former BGSU cohorts, had a nice conversation with the BG School of Cultural and Critical Studies chair, and was approached by a respected publisher who expressed interest in developing my project into a book.
Although it was a quick trip – I drove into Chicago Friday afternoon, presented Saturday morning, then headed back home in time for dinner, it was well worth the trip [and the sleepless before-presentation night]. I don’t know how many more PCA conferences I have in me, but I enjoyed the opportunity to be surrounded by young and enthusiastic scholars who are making important and interesting contributions to the field of popular culture studies.
Unidentified women in Ford automobile – Ford Piquette Street Plant Museum
I am a native Detroiter, and have spent the majority of my life in car-centric southeastern Michigan. I grew up during the Golden Age of car culture, and spent part of my past life writing car commercials. Once I entered graduate school as a senior citizen, my motor city background and aging second wave feminism led me to the relationship between women and cars as a research focus. My subsequent projects have considered how women negotiate membership in historically masculine automotive spaces as well as how women’s connection to cars is represented in popular culture.
My current project centers on the representation of women in automotive museums. As a historically masculine space, I was interested in whether any effort had been made by automotive museums to integrate women into automotive history. As museums in general have slowly and often stubbornly moved toward a social history model, I was curious as to whether institutions devoted to the automobile had bought into the current museum trend or if they continued to reflect primarily male preferences and influence. As Jennifer Clark writes, ‘motor museums are conservative in style, with an influential – and overwhelmingly male dominated – collecting and visitor base’ (280). The answer to the either or question is, of course, is ‘yes’. Some museums have embraced the new direction while others have dragged their feet. Yet looking closely one can observe female influence and interaction with the automobile in most museum settings. As noted in previous blogs, female representation within the museum falls into categories which reflect women’s various roles in automobile culture. What follows are the three remaining themes I have developed in my observations of 12 automotive museums.
Consumers
‘Clean, Quiet, and Easy to Operate’ – Gilmore Museum
Women as consumers and drivers are presented in museums through photographs, advertisements, and the cars on display. Much attention is given to the connection between women and electric cars; electrics were advertised as appropriate for women for their cleanliness, quiet, and ease of operation. More than one museum mentions that Henry Ford purchased an electric for his wife Clara – whether Mrs Ford actually preferred the electric or it was acquired to keep her close to home is hard to say. However, the Piquette also features photographs of women driving the gasoline-powered Model T, which suggests women may, in fact, preferred the power and range such a vehicle provided. One of these photographs includes a caption that notes that, although women were routinely ignored by the auto industry, Ford recognized them as an important market for reliable, inexpensive cars.
Nash advertisement – Wisconsin Automotive Museum
Women’s role as consumer is most evident through the promotional materials displayed at almost every museum I visited. Exhibits at the Wisconsin museum, for example, include post war advertising which features women as Nash consumers, test driving automobiles, and speaking with car dealers. At the Henry Ford, which focuses on car culture rather than particular automobiles, women are very much present as consumers, drivers, workers, and influencers. They are introduced as early proponents of bicycles and the Model T as well as the minivan. They are represented in promotions about style, design, and safety. Women’s changing roles in advertising – as objects, symbols, moms, and adventurers are also addressed.
Agents
Clara & Henry Ford – Ford Piquette Street Plant Museum
Women – as individuals who make things happen – was an understated but underlying theme in many of the automotive displays. Wives of industry innovators – including Clara Ford and Bertha Benz – were often silent but important partners and contributors to their spouses’ success. Clara Ford worked with her husband on what was to be known as the ‘Kitchen Sink Engine Model’ as she helped with its testing in the Ford family kitchen. Bertha Benz not only invested her inheritance in her husband’s business, but through her cross country trip, brought the Benz-Patent Motorwagen worldwide attention and got the company its first sales. The tour of the RE Olds Transportation Museum begins with a focus on the Olds family and homestead. Much of that is devoted to Metta Olds, the wife of the company founder. The artifacts on display – photos, family trees, furniture, personal items, clothing, and a book focused on the couple suggests that Metta was very much a silent partner and supporter of her husband and his business. While ‘the woman behind the man’ is somewhat of a cliché, the attention to wives of industry founders within multiple museums suggest they were significant contributors to early automotive history.
Emergency Brigade Picket Line – Sloan Museum of Discovery
Women who served the automotive industry in other capacities were also acknowledged. The Sloan Museum recognizes women’s important role as members of the Emergency Brigade during the 1936 General Motors Sit-Down Strike. As noted in Jalopnik, a popular automotive site, ‘Many think of factory work, and therefore a strike in the automotive industry, as something primarily men would do. But it was the members of the Women’s Emergency Brigade, a paramilitary group of women inside the United Auto Workers union, who proved to be the secret weapon in that group’s triumph over General Motors.’
While not as prominent as the mostly male movers and shakers of the automotive industry, women on the sidelines often created important roles for themselves, as influencers and agents of change in the home, on the factory floor, and on the picket line.
Gatekeepers
Carriage to Cars Exhibit – Sloan Museum of Discovery
Transportation museums often honor those responsible for the preservation, maintenance, and promotion of automotive history. Women have served in these roles; their contributions are found in glass cases, museum walls, and foundations and positions bearing their names. The Dunning Carriage to Cars Exhibit in the Sloan is funded by the Margaret Dunning Foundation. Dunning, known for her love of classic cars, established the foundation to nurture the preservation and teaching of automotive history for all Sloan visitors, but in particular for residents of the county in which the Sloan resides. The exhibit is an important component of the museum’s interactive History Gallery, which intertwines local automotive history with stories of Flint life, employment, neighborhoods, schools, housing, and tourism. Helen Earley, the First Lady of Oldsmobile, was a long time RE Olds Museum employee who created a position for herself as the resident Oldsmobile historian. As a scholar, historian, and archivist, Earley established the Oldsmobile History Center and co-authored two books on Oldsmobile history. The museum ‘board room’ bears her name and her likeness; further information is contained in a glass case hidden holding a few photos and a self-authored obituary.
Many of the museums I visited – Automotive Hall of Fame, Saratoga Automotive Museum, the Henry Ford, Wisconsin Automotive Museum, RE Olds Transportation Museum, Stahl’s Automotive Foundation Museum, to name a few – have installed women as directors, managers, trustees, and other decision-making positions. This is a hopeful sign that continued efforts will be made to incorporate and include the contributions of women – as drivers, consumers, workers, and influencers – into the annals of automotive history.
Saratoga Automotive Museum Officers
The categories provided here represent my initial observations on the representation of women in automotive museums; as I delve deeper I will certainly uncover more. What this examination has uncovered is not only that women are vastly underrepresented in these locations, but that women have, in fact, contributed to automotive history in varied and important ways. As Knibb writes, ‘the absence of women’s history from the permanent galleries of a museum does not necessarily mean that the museums’ collection is weak in objects relating to women’s lives.’
Automotive history has been long been documented as an account of powerful men and male machines. Because women’s relationship to the automobile differs from that of men, and because women are most likely to be judged against male achievements, women’s history with automobiles has been considered less legitimate; consequently, it is less likely to be recorded. As I hope to demonstrate in this project, automotive museums, as collections of objects and artifacts related to the motor car and its industries, provide an important, if not imperfect, resource for the recovering of women in automotive history.
Clark, Jennifer. ‘Peopling the Public History of Motoring: Men, Machines, and Museums.’ Curator The Museum Journal Vol 56 Number 2, April 2013, 279-287.
Knibb, Helen. ‘Present but Not Visible’: Searching for Women’s History in Museum Collections.’ Gender & History Vol 6 No 3, November 1994, 352-369.
Marquis, Erin. “‘Women That Would Gladly Give Their Life’: How The Paramilitary Women’s Emergency Brigade Battled GM At The UAW’s First Big Strike.” Jalopnik 9 Oct 2023
As someone who has been immersed in car culture from a young age, I have visited a fair number of automotive museums. However as I became increasingly focused on the women-car relationship in my research, my car museum experiences became more analytical, particularly when considered through the lens of gender. As I made my way through the rows and rows of automobiles, and numerous historical displays that poured accolades on the great white men of the automotive industry, I continually asked myself, ‘where are the women?’ This question served as the impetus for my current project: an examination of women’s representation in museums devoted to the automobile.
Women as symbols of safety – Sloan Museum of Discovery
Women are almost absent from the motoring story presented in museums. As Jennifer Clark writes, ‘the motor vehicle is still seen as an object of male interest and is mostly displayed with that perspective foremost’ (286). Yet the reason for this absence is not due to lack of female automotive participation but rather the value placed on women’s automotive roles by male automotive institutions. Women’s relationship with cars, and female participation in car culture, differs considerably from that of men. Because of that difference, women’s engagement with cars – more social than technical – is regarded as less worthy of attention by the male museum establishment. As Clark argues, ‘women need to be rediscovered in the motoring story – and with them, the stories of families, holidays, personal independence, social and economic change’ (286). The themes I developed in this project draw attention to the numerous and varied roles women have occupied throughout automotive history. While I considered both the exceptional and famous women in a previous blog, there are other roles that emerged from my examination of a dozen museums that are of equal, if not greater, significance.
Patti’s Met – Antique Automobile Club of America Museum
Storytellers
The automobiles which line the halls of car museums are often accompanied by placards that provide information on the model, year, and the donor. Often these cards are accompanied by a bit of history regarding the individual who owned the car and how the vehicle arrived at the museum. While the number of cars donated by women is small, the stories they tell reveal women’s relationships, driving histories, and love of automobiles. A 1940 Mercury on display at the AACA museum was donated by the owner’s daughter, who wrote, ‘This car is special to me because it was part of my father’s collection that he loved so much.’ A Berkshire Green and white 1961 Nash was a surprise Christmas present for a woman who had expressed admiration for Metropolitans while at a car show. The restored vehicle sports a front license plate with the words ‘Patti’s Met.’ A bright blue 1950 Nash Statesman Super Airflyte at the Wisconsin museum was purchased by a woman with the goal of learning to drive. Despite the woman’s good intentions, however, that never came to pass; the car sits on the museum floor with just 61 original miles.
While narratives regarding men and their machines are commonplace, the stories that accompany vehicles call attention to the hidden relationships forged between women and their cars. Whether a connection to an absent parent, fulfillment of a lifelong dream, or a project of good intentions, the origin stories suggest there is are histories of women’s automotive interest and love for cars worth investigating.
Symbols
Promotional postcard – Wisconsin Automotive Museum
Much of women’s presence in automotive museums is found in advertising and promotional materials. Luxury brands in particular often relied on female imagery to lend sophistication, glamor, and elegance to their automobiles. Using female imagery to sell automobiles is a long standing practice; as evidenced by museum materials such selling tactics began as soon as women took the wheel. Women in early automotive advertising were also called upon to demonstrate qualities of the automobile believed to be important to the female driver, especially cleanliness, quiet, safety, and ease of operation. The Wisconsin Automotive Museum includes a selection of postcards that conflate female characteristics with the 1913 Kissel. Accompanying photos of winsome women employ headlines such as ‘They are good to look at’ to entice potential Kissel buyers.
The museums also call upon larger than life photographs of women as backdrops to the automobiles on display. These images are often accompanied by mannequins costumed in the latest fashion. Such imagery not only provides a historical context for the vehicle, but also equates the physical automobile with a certain level of success and class.
Women as symbols – Gilmore Car Museum
Stereotypes
Stereotypes of the woman driver have existed since women first got behind the wheel of the automobile. Not only has women’s driving behavior served as a source of criticism and humor, but women have also been sexualized as a means to sell product. Items in the museums often reflect the stereotypical ways women have been portrayed throughout automotive history. This is most evident in advertising, where women – due to their presumed lack of automotive acumen – are called upon to promote easy-to-operate vehicles, directed toward family rather than performance cars [because women’s place is in the home], and have bodies called upon as promotional tools. Women driver stereotypes, as it turns outs, are also reflected in the naming of particular automotive features. One of the more interesting options on some of the early Fords was the ‘mother-in-law’ seat, a fold-down, single-person rumble seat in the rear. The commonly used term for this feature no doubt reflects some of the ‘back seat driver’ stereotypes of the time. Such automotive features were also a part of museum tours. For example, according to a [male] guide at the Piquette Plant, women were attracted to the 1907 Model R Runabout for its extensive ‘bling’; to the 1911 Brush Runabout for its easy ride and affordability; and the electric car for its high roof [to accommodate women’s hats], and its extensive use of glass [so that women could be ‘seen’]. While the majority of museum references to women were positive, the negative representations demonstrate that stereotypes regarding women and cars have, and continue, to exist.
Mother-in-law seat – Ford Piquette Avenue Plant Museum
While these categories offer new ways to consider women’s role in automotive history, they are only a few of the many I was able to discern from the ‘almost absent’ museum artifacts. What these and other roles suggest is that women’s contributions to automotive history and car culture are greater and more varied than previously imagined.
Clark, Jennifer. ‘Peopling the Public History of Motoring: Men, Machines, and Museums.’ Curator The Museum Journal Vol 56 Number 2, April 2013, 279-287.
Over the past year I have visited a dozen automotive museums. This journey was taken on not only due to my fascination with automobiles and car culture, but as part of a project examining the representation of women in institutions devoted to the automobile. As much of my research investigates women’s participation in car cultures associated with masculinity and the male driver, I thought auto museums would be an interesting location in which to observe how women – who compose over 50% of licensed drivers – were integrated into the automotive histories car museums represent. My first impressions were not encouraging. It was difficult to find evidence of women among the many aisles of automobiles owned, donated, driven, and produced by men. My original intention, therefore, was to focus primarily on the absences; to investigate the investigate the practices and processes that led to women’s invisibility in these masculine institutions. However, as I made my way through a dozen automotive museums, I noticed that women were, in fact, present, although not in the ways or in the places one might expect. I discovered evidence of women’s automotive participation hidden in dusty corners, tacked high up on walls, and in the back of smudgy glass cases. I found artefacts of women’s automotive history in unidentified photographs, yellowing news articles, and collected promotional materials. I thus came to the decision that rather than examine and question what was missing, to focus on what was there. I took the advice of historian and museum studies scholar Helen Knibb, who wisely wrote ‘collections, despite biases of gender, class, race, and creed, fragmentation, incompleteness, and regional disparities, can be an important primary source for the study and presentation of women’s history.’ Thus my objective became to uncover references to women’s automobility wherever I could find them, and in doing so construct a pieced-together, museum-inspired history of women and the automobile.
Female mannequin next to Buick – AACA Museum
On first glance, women in auto museums appear only intermittently, primarily as mannequins in a passenger seat without any frame of reference. As historian Jennifer Clark notes, ‘we are not told anything about their journey, nor, for example, anything about the ideas of gender and class associated with driving and riding in vehicles.’ I found this to be true in many of the ‘collection’ museums I visited; female mannequins dressed in period costumes without any explanation or context appeared as an afterthought or ‘cursory’ addition to satisfy some sort of gender imperative. Yet other museums, those who adapted a social history approach or focused on a particular manufacturer or place, were more likely to include women in other ways. As I toured the museums, I discovered common themes in how women were represented. What follows, in this and subsequent blogs, are categories that provide insight into how women have made an impact in automotive history.
Exceptional women
Racing car driven by Lyn St James – Automotive Hall of Fame
The exceptional woman is one who has made a name for herself in automotive history. This category includes women who are easily recognized outside of the automotive community as well as those, while less familiar, are highly regarded within it. Many of the women are noted for being ‘firsts’ in a culture and climate that is overwhelmingly male. Women who have achieved success and notoriety in motorsport make up the majority of these featured individuals. A few of the museums dedicate a considerable amount of space to these racing legends; exhibits focused on drivers such as Danica Patrick, Lyn St James, Janet Guthrie, and Sara Christian often incorporate photographs, artifacts, racing gear, and memorabilia. Some – including the Henry Ford and Automotive Hall of Fame – actually feature cars driven by the women – facsimiles or the real thing. Museums that focus on a particular geographical location will often refer to a familiar female figure in motorsport who was born or who had a significant win in the area. The Saratoga Automobile Museum, for example, stakes claim to drag racing legend Shirley ‘Cha Cha’ Muldowney, who got her start off the streets of Schenectady.
Bertha Benz exhibit – Automotive Hall of Fame
Early female automotive pioneers are also honored in a number of car museums. Attention is given to Alice Ramsey – the first woman to drive an automobile across the United States – as well as early-twentieth century rally driver Joan Newton Cuneo. However, often such references are hidden away and are only come upon by accident. Bertha Benz, the wife of automotive legend Karl Benz, was famous in her own right and is represented in a number of museums alongside an early Benz automobile. Investing her inheritance in Karl’s business, Bertha motored one of her husband’s automobiles from Mannheim to Pforzheim in 1888, drawing attention not only to the automotive manufacturer but to the tenacity and talent of women behind the wheel.
The exhibits featuring female pioneers in automotive history – whether taking up a significant amount of museum space or tucked away in a glass case – incorporate women as symbols of female success in male dominated fields and as important contributors to women’s automotive history. In doing so, such representations offer inspiration and aspiration to all – particularly female visitors – in attendance.
Alice Ramsey – Automotive Hall of Fame recipient
Famous women
Well-known women with a connection to automobiles are the subjects of exhibits in a number of automotive museums. Corporate institutions in particular often create displays that feature female film stars, celebrities, public figures, or dignitaries who have owned, driven, or been photographed with one of the manufacturer’s more celebrated models. One of the more popular individuals featured in a number of museums – and with a variety of cars – is Amelia Earhart. An acknowledged auto enthusiast known for her love of power and speed, Earhart is referenced in the Wisconsin Automotive Museum in association with the Kissel Speedster aka Gold Bug, which she drove across country in 1923. The Henry Ford, Ypsilanti Automotive Heritage Museum [YAHM], and Stahl’s Automotive Foundation Museum each draw attention -through photographs, publicity material, and similar automobiles – to Earhart’s christening of the 1933 Hudson Terraplane. The Auburn-Cord-Duesenberg Museum [ACD] calls upon date of Earhart’s ill-fated attempt to circumnavigate the globe as a historical touchstone, allowing museum visitors to place a vehicle within a specific time and place. Other celebrities – including actresses Mary Astor and Anita King – are also celebrated for their love and promotion of fine automobiles. This connection between famous women and cars was perhaps one of the earliest examples of celebrity endorsement. Such publicity not only brought attention to the cars, but also suggested that women were capable of appreciating and handling automobiles for the style, notoriety, and freedom they provided.
Display honoring Amelia Earhart and her ‘Gold Bug’ – Wisconsin Automotive Museum
These categories represent just two of the many groups of women I discovered on my automotive museum journey. As the number of categories – and representative women – grew, I gained a better understanding of the contributions women have made – large and small – to automotive history.
Clark, Jennifer. ‘Peopling the Public History of Motoring: Men, Machines, and Museums.’ Curator The Museum Journal Vol 56 Number 2, April 2013, 279-287.
Knibb, Helen. ‘Present but Not Visible’: Searching for Women’s History in Museum Collections.’ Gender & History Vol 6 No 3, November 1994, 352-369.
The Super Bowl, as argued by scholars and pundits alike, has long been considered an idealized representation of American masculinity. Since the first Super Bowl contest of 1969, football fans across the US have gathered around TV sets to join in a celebration of men engaged what has been described as “professional warfare” on the playing field. As noted by gender scholar Jan Huebenthal in 2013, as the ultimate football contest, the Super Bowl “celebrates physical violence committed by hypermasculine players against their opponents” (6). Not only is masculinity on stage in the game itself, argues Huebenthal, but is reinforced in the commercials that fill in the gaps in Super Bowl coverage.
1969 Goodyear ad
From its very beginning, the gas-powered automobile was constructed as masculine. As Michael Berger writes, “everything about the car seemed masculine, from the coordination and strength required to operate it, to the dirt and grease connected with its maintenance” (257). This association has been reflected in the types of cars historically marketed to male drivers, as well as the “natural” driving behaviors attributed to the man behind the wheel. Vehicles with descriptors such as powerful, rugged, durable, and tough were considered appropriate choices for men. And, as Clay McShane argues, in order to establish automobility as a male activity, men quickly claimed the emotional traits necessary for driving – “steady nerves, aggression, and rationality” – as masculine (156). The construction of the automobile as a symbol of masculinity has, not surprisingly, been reflected in car advertising over the past few decades.
The early Super Bowl telecasts featured commercials from automobile advertisers who, as Smithsonian journalist Jackie Mansky notes, were “playing for the men in the room.” The 1970 contest featured a spot for the Pontiac GTO – long considered the ultimate muscle car. In 1975, a teenager’s souped up Plymouth Barracuda – the first pony car – was called upon to appeal to the young male market. Fandom scholar Danielle Sarver Coombs argues that as the Super Bowl reflected the culture of the time, so did its ads. “For a hyper masculine sport like football,” Coombs explains, “hyper masculine-focused advertising followed in turn.” And as she pointed out, football commercials “continue to cater to the male market despite a documented shift in the demographic tuning in” (qtd. in Mansky).
Kia EV9: “Perfect 10”
The car commercials that aired at the 2024 Super Bowl – although still directed primarily to the male audience – were decidedly less “macho” and testosterone-driven than many from the past. Auto commercials from the early years were often offensive to women; as Mansky recalls, a 1969 commercial for Goodyear Tire featured a woman in distress with the tagline, “when there’s no man around, Goodyear should be.” However, the car ads that aired during Super Bowl LVIII, although not directly directed toward female viewers, displayed a more twenty-first century sensibility. The commercials presented men both sensitively and humorously; they addressed automobiles through a nostalgic and cultural rather than gendered lens.
Toyota Tacoma: “Dareful Handle”
The Kia commercial featured a dad who drives his ice-skating daughter through perilous weather conditions to perform for her grandpa in a backyard pond; Volkswagen connected moments in cultural history – including a nod to the rulings extending gay marriage rights – to combine, as Ted Nudd of Ad Age notes, a “sweeping legacy statement with a product tease in an uplifting way.” Even ads that that relied on longstanding male troupes poked fun at male driving behavior. The commercial featuring the Toyota Tacoma pickup calls upon humor to demonstrate the vehicle’s role as an off-road adventure machine, focusing on the passenger side grab bar – referred to as the “shut the front door” or “whoa whoa whoa” handle. As Hagerty’s Peek and Petroelje write, “as the camera jumps from one frightened passenger to the next, we’re shown an orange Tacoma kickin’ up dust while doing donuts and other herky-jerky maneuvers at high speed.” The spot created for the Kawasaki Ridge ties the farcical mullet hairstyle – “business in the front, party in the back,” to the powerful front engine and rear towing ability of the of the sport side-by-side. This change in advertising attitude could certainly be attributed to the increase in female watchers; while driven somewhat by the “Taylor Swift effect,” girls and women accounted for 47.5% of the Super Bowl audience (Crupi). But it also suggests that automakers recognized that women would be watching, and geared their commercials to be funny or heart-warming and appealing to all rather than just the male audience.
Kawasaki Ridge: “Mullets”
As someone who has a passing interest in football but considerable enthusiasm for cars and commercials, I found this year’s Super Bowl automotive advertising offerings to be imaginative, entertaining, and surprisingly accessible to an expanded audience. Thank you Taylor Swift, and to the automotive advertisers who recognized that women like cars, too.
Berger, Michael. “Women Drivers!: The Emergence of Folklore and Stereotypic Opinions Concerning Feminine Automotive Behavior.” Women’s Studies International Forum 9.3 (1986): 257-263.
Crupi, Anthony. “Taylor Swift Effect Kicks in for Super Bowl as Female Demos Soar.” Sportico.com 16 Feb 2024.
Huebenthal, Jan. “Quick! Do Something Manly!”: The Super Bowl as an American Spectacle of Hegemonic Masculinity, Violence, and Nationalism.” W & M Scholar Works, 2013.
Mansky, Jackie. “What the Earliest Super Bowl Commercials Tell Us About the Super Bowl.” Smithsonianmag.com 31 Jan 2019.
McShane, Clay. Down the Asphalt Path: The Automobile and the American City. New York: Columbia University Press, 1994.
Peek, Jake & Nathan Petroelge. “2024 Super Bowl Car Ads: Touchdowns, Field Goals, and Penalties.” Hagerty.com 12 Feb 2024.
Rudd, Tim. “Super Bowl 2024 Ad Review – The Best and the Worst.” AdAge.com 11 Feb 2024.
