Participating in academic conferences is not only a great opportunity to present one’s work, but leads to encounters with other scholars with similar interests. While presenting at the Popular Culture Association National Conference a number of years ago, I was included on a panel with Katherine Parkin, a professor of social history at Monmouth University. Parkin had just published Women at the Wheel: A Century of Buying, Driving, and Fixing Cars, which went on to win the Emily Toth Award for best book in women’s studies and popular culture. Since we were both writing about women and cars, we had a lot to talk about. While my scholarship is primarily limited to that topic, as a historian Parkin writes on a variety of subjects; her research interests include the history of women and gender, sexuality, advertising, and consumerism. Parkin is often sought after to engage in various projects; however, as both a teacher and researcher she does not always have the time to accept all of the invitations. To my good fortune, Parkin has passed on some of those projects to me. These have included a book review, a chapter in a book on the history and politics of motorsports, and the most recent, an introduction to Limousine – a recently published book of award-winning photographs by Kathy Shorr.
The photographs in Limousine were taken in 1988, shortly after Shorr graduated from the School of Visual Arts in New York. For this project, Shorr became a limo driver for nine months, working for the Crystal Limousine Company in Brooklyn. Unlike the majority of Brooklynites who did not possess driver’s licenses, eschewing the automobile in favor of public transportation, Shorr grew up a car girl; she purchased her first car – a Buick Skylark – while still a teen. Thus the decision to select a limo for this project came naturally to Shorr as it satisfied her love of driving while the vehicle served as a studio on wheels. As I write in the intro, “The limo’s posh interior served as a private space for personal conversations, boisterous drinking parties, and more than a few romantic interludes. While the limousine served a practical purpose, it also transmitted messages about those who rode in it. Shorr’s passengers called upon the limousine to construct new, albeit temporary, versions of themselves, captured forever on black-and-white film.” The photos in this collection are extraordinary, effectively capturing a place in time and the people who inhabited it.
I truly enjoyed working on this special project. Shorr was a delight to work with and peppered our conversations with engaging and often humorous car stories. I am so proud to be a part of this amazing endeavor, and am honored that I was selected to write the introduction. Of course it wouldn’t have happened if it weren’t for a chance meeting with Katie Parkin at PCA. So thank you to Katie and Kathy. I am forever grateful for the connections I have made in this third act of my life.
This past weekend was the 8th Annual Michael Argetsinger Symposium on International Motor Racing History, held at Watkins Glen International Speedway media center. Unlike the past two years, I was on the organization team and was also a presenter. As usual there were a mixed bag of presentations – some were fascinating and others less so. There are papers on just about every motorsport interest so it makes sense that some would appeal to me more than others.
The most inspiring presentation of the weekend was that of the keynote speaker, legendary racer Lyn St. James. I had just recently finished her book so while some of the stories she told were familiar, I was intrigued by many of the experiences she had originally left out. Lyn and I are from the same generation, so I was particularly moved by the influence of the women’s movement on her progression from racer to women’s racing advocator. Her recollections of conversations with Billie Jean King in the quest to promote women’s sport were especially compelling. I had brought my copy of Lyn’s book with me to the symposium; she signed it with the most inspirational message. It was quite an exciting day.
My presentation was scheduled on the second day. It was a lengthier repeat of the talk I gave earlier this month to the Silverstone on the history of women-only racing. It went pretty well; I had many good questions from the audience and the women in particular seemed to appreciate it. Some of the men, not so much.
The weekend is filled with other activities that provide an opportunity to network and socialize. As this is my fourth time at the conference [second presenting] I am starting to feel more comfortable. My introduction as the Society of Automotive Historians Vice President also gives me an air of legitimacy in the room.
Although I returned exhausted [a 6AM flight will do that], the weekend was ultimately a fulfilling one. I was able to present to a knowledgeable and interested crowd, mingle with a bunch of like-minded motorsport enthusiasts, and received words of encouragement from a racing legend. How cool is that!
On a trip to the California Automobile Museum last spring, I chanced upon an exhibit focused on women in lowrider culture. “Rucas y Carruchas: Ladies in Lowriders” celebrated the contributions of women in the lowrider community. The collection of colorful, spectacular cars was accompanied by photographs, videos, artwork, as well as personal stories that spoke of family, community, friendship, heritage, and the meaning of lowriders to the women who own them. As someone interested in the connection between women and cars, the exhibit piqued my interest. Upon investigating the matter a little further, I came upon a number of online articles and reports focused on the rise in female lowrider clubs and communities in the Latino communities in the Southwest United States. What makes this news exceptional is that lowrider culture has long been the province of men, a practice handed down from fathers to sons, from one generation to another. While women have always been part of lowrider culture, it has been primarily in the role of passenger, girlfriend, or a scantily clothed photographic model. However, as I discovered, women have become increasingly involved in the culture as creators and drivers, forming their own clubs, and challenging the male dominated nature of the lowrider scene.
To the uninitiated, the lowrider is a customized domestic automobile – preferably a 1960s vintage Chevy Impala – painted in one of many spectacular and iridescent “candy” colors – bright pink, green, orange, deep purple, or red – highlighted with metal flake coatings, and finished with up to 18 layers of clear lacquer. The car bodies often serve as canvases for elaborative paintings of religious icons, cultural symbolism, the zoot suited pachuco, and shapely women. Lowrider interiors are often elegantly upholstered and intricately detailed in lush fabrics. However, while the lowrider is often recognized and admired for its aesthetics, the lowrider’s defining style is the lowered body that hovers mere inches from the pavement. This appearance is often achieved through the removal of rear shock absorbers and a pile of sandbags in the trunk; however, more sophisticated vehicles rely upon hydraulic technology to raise and lower the massive body frame. While the American hotrod of the white working-class male is most often associated with power and speed, bajito ysuavecito – “low and slow” – epitomizes the lowriding culture. The lowrider is meant to be seen; consequently, as Brenda Bright writes in “Heart Like a Car,” owners of lowrider vehicles “drive these beautiful, luxurious roadway spectacles very slowly, literally taking over the road and forcing other drivers to ‘deal with’ their slow, deliberate driving style” (583).
Attendees of a lowrider exhibition, wearing Zoot suits of the Mexican American subculture known as Pachucos (AP Photo/Andrés Leighton)
The lowrider subculture has a long and embedded genealogy in Mexican-American culture. It originated in the “car-saturated prosperity” of post World War II America and has remained integral to Chicano cultural identity into the twenty-first century. While hot rods and drag racers were the white male working-class vehicles of choice, Mexican-Americans proceeded in the opposite direction and created the lowrider. Young Chicanos appropriated the domestic automobile – which symbolized American values of independence, freedom, and social mobility – and reinvented it for their own use.
Lowrider customization is a form of work in which the Chicano takes a great amount of pride. As Ben Chappell writes, “Lowriders join industrial objects with craft, endowing them with new significance. With reference to Mexican-American history, the investment of a car with symbolic value and manual labor (as well as folk mechanical engineering) with prestige is a posture of resistance to a ‘community identity’ that labels Mexican-Americans as cheap labor” (637). The Chicano community demonstrates its pride not only by cruising “low and slow,” but also through participation in regional car shows and “hopping” competitions. These events provide an opportunity for the Chicano lowrider to demonstrate creativity, artistic skill, as well as technological ability.
Dueñas Lowrider Club
While some women remain participants in conventional lowrider culture, there are others who have broken away to establish new female and family focused lowrider communities. They have appropriated many of the culture’s longstanding traditions and practices while creating new spaces for like-minded female enthusiasts. These clubs and communities have become sites for creativity, invention, friendship, and family. Of the solidarity found in the lowrider community, one member declared, “you have all the pressures of going to work, coming home, but you know with the club sisters, we find time and manage to go out; they’re a very big support system for myself. We treat each other like family.”
Whereas traditional lowrider culture was centered on the connection between fathers and sons, women have expanded the generational focus to promote not only their own participation, but most importantly, to encourage that of young girls. As a founding member of the Dueñas Club in California explained, “It’s really important that us mothers, us women, show support for our girls. It’s nice to be able to do things with your daughter that she’s also going to love. You know showing my daughter the ways, embracing the culture, the love, and just really being influenced.” Many of the girls begin their immersion into lowrider culture with bikes. As a young member remarked, “I’m involved because my mom, she’s part of the car club, and then over time, I started going with her to the car shows, bike shows, and I was thinking to myself I want one of those. You see your creation come to life, and everything that you’re planning, it just makes you feel really good.” When these young girls become adults, they often follow in their mother’s footsteps. Angel Romero, founder of the all-women’s car club Duenas, spoke of her mother’s influence. As she recalls, “Back then, we didn’t see a lot of women driving lowriders. People would joke that the lowrider was my boyfriend’s or Daddy’s ride. […] We got into this lifestyle and culture very differently from most people. It wasn’t our dad or a male role model who taught us about cars. It was our mom.”
The women who participate in lowrider culture view their vehicles not only as spectacular machines, but also as canvases on which they can express their creativity, culture, and identity. In the “Rucas y Carruchas” exhibit, for example, the collection was accompanied by photographs, videos, artwork, and personal stories written in notebooks and scribbled on scraps of paper. Personal artifacts were often strategically placed around the cars, which offered a glimpse into the lives and dreams of the women who owned them. This practice begins in girlhood; in online club photographs, bikes are often surrounded by a young girl’s important possessions.
Women in lowrider culture are getting recognition in local and national news sources. Lowrider magazine, dubbed the movement’s “bible” by readers worldwide and is considered the source for the latest in everything lowrider, published a special edition in October 2024 dedicated to ‘women shaping the culture’ in honor of women’s history month. As noted in an article in Motor Trend, “Historically, depictions of women in Lowrider magazine were often limited to models on the hoods of cars. This limited-edition revival highlights the women behind the wheel who have fought for their place as drivers, builders, mechanics, painters, and welders in a male-dominated world.”
For generations, lowrider culture has evolved as an important site of collective and individual identity formation among Chicano fathers and sons in the southwestern United States. In the twenty-first century, women within these locations have embraced the historical, cultural, and creative components to construct new female-centered communities focused on friendship, family, and a shared passion for the iconic lowrider automobile.
Bright, Brenda. “Heart Like a Car: Hispano/Chicano Culture in Northern New Mexico.” American Ethnologist. 25.4 (1998): 583-609.
Chappell, Ben. “Lowrider Style: Cultural Politics and the Poetics of Scale” in Cultural Studies: An Anthology. Michael Ryan, ed. Malden MA: Blackwell, 2008.
Figueroa, Fernanda and Melissa Perez Winder. “Lowriding is More Than Just Cars: It’s About Family and Culture for Mexican-Americans. 15 Oct 2024. APnews.com 15 Oct 2024.
Good Morning America. “Meet the Moms and Daughters of this All-Female Lowrider Community.” 8 Feb 2024. Video.
Romero, Angel. “How an All-Women’s Lowrider Club Formed in the Heart of Silicon Valley.” 27 Sep 2024. kqed.org
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’
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.
Last summer, female racing icon Danica Patrick once again made the news. However, it was not for her achievements behind the wheel, but rather for a comment she made while being interviewed on a broadcast designed with younger viewers in mind. When asked by a young admirer when the world would see a woman racing in F1, Patrick dismissed the whole notion, arguing that the ‘female mind’ would prevent women from such a motorsport achievement. Jalopnik writer Elizabeth Blackstock was highly critical of the former racer; as she argued, ‘a sporting broadcast designed for young children is perhaps not the best venue to share a deeply discouraging message to a large subset of young viewers.’ Social media platforms were flooded with negative responses from motorsport fans; as an X poster exclaimed, “There’s nothing worse than when a woman gets a platform in a male dominated space and uses it to showcase herself as the “exception” instead of using it to deconstruct harmful stereotypes.’ As one who has broken considerable barriers in the racing world, Patrick has the props and the potential to serve as a role model for young female aspiring racers. However, Patrick’s comment suggests she has little interest in assuming that role.
Vicki Woods in the NASCAR Hall of Fame
The reluctance of a groundbreaking female pioneer in any male-dominated profession to serve as a role model is not without precedent, nor is it particularly uncommon. Dr. Shawn Andrews, writing for Forbes, notes there are a number of reasons why women in power do not support or encourage other women. Andrews discusses phenomena such as the ‘Queen Bee Syndrome,’ when women display behavior more typical of men to display toughness, set themselves apart from lower ranking women, and fit in. Andrews also notes that when competition for ‘spots’ in favored in-groups increases, ‘women are less inclined to bring other women along.’ However, that which perhaps applies most directly to Patrick is the notion that, due to the obstacles women – particularly those first to attain success in predominately male fields – face in their career, their attitude toward other women is often ‘I figured it out; you should, too.’ I found this to be a somewhat common practice in my past career in advertising, where women who had struggled to attain respected positions were sometimes reluctant to mentor younger up-and-comers, endeavoring to keep hard-earned power and prestige for themselves.
Much has been written about the importance of female representation in male dominated areas in both academia and the media. In a study of the choice of college majors, Porter and Serra argue that the lack of women in traditionally male fields may be attributed to the scarce number of female role models. As they write, ‘due to historical gender imbalances, it is difficult for young women to come into direct contact with successful women who have majored in male dominated fields and can inspire them to do the same’ (1). Drury et al argue that female role models in STEM fields are, in fact, effective in combating ‘stereotype threat’; i.e. negative stereotypes that cast doubt on a woman’s ability to perform. Although Mary Barra encountered incredible obstacles within the historically masculine auto industry to become its first female CEO, she remains ‘a strong advocate for encouraging more women to pursue careers in traditionally male-dominated fields’ (Standley). Perhaps the most vocal promoter of female role models is former Secretary of State Madeline Albright, who famously stated, ‘there’s a special place in hell for women who don’t help each other.’
Throughout most of its long and storied history, motorsport has been unwelcoming to women. Although motorsport is one of the few competitive sporting activities in which men and women are allowed to engage on equal footing, females are vastly underrepresented in the majority of motorsport arenas. In the United States, women comprise over 50% of licensed drivers. Yet while there is no current data on the percentage of female motorsport participation, it is estimated that women’s involvement in combined motorsport venues is less than 4%. Barriers to women’s inclusion are both numerous and complicated. Obstacles include societal factors; young girls are discouraged from engaging with ‘toys that move’ and are less likely to be introduced to motorsport at a young age than their male peers. Longstanding systemic discrimination and harassment within racing organizations and masculine motorsport cultures is also a factor. As Shackleford writes, “the rules that create race events celebrate and encourage an exclusively masculine, distinctly stratified, labor-intensive relationship between man and machine” (230).
Display in “Driven to Win” at the Henry Ford
“More Than Equal” – a major study on female participation in motorsport – argues that while costs, inappropriate culture, and negative stereotyping of skill and ability are major barriers to women in motor racing, a significant contributor is the lack of female role models and mentors in the field. Without female representation in all levels of motorsport, the activity is off the radar for young women; they are often unaware of motor racing as something in which they can participate. Female representation in a male dominated profession such as motorsport allows girls to imagine that success is possible; when someone who looks like you breaks psychological and physical barriers it is easier to envision that you can, too.
French rally driver Michele Mouton
Women who participate in motorsport often express admiration and appreciation for those who have paved the way. In my own research into autocross, for example, women are often encouraged by the large number of female autocrossers who have not only succeeded, but are willing to teach and mentor those new to the sport. Female racing series including the W Series have provided a platform not only for those who participate, but also for those who aspire to one day join them on the track. Retired racers – including Indy 500 Rookie of the Year winner Lyn St James and French rally driver Michele Mouton – have created organizations specifically for the development and promotion of women in motorsport. Automotive organizations, museums, and institutions that feature and promote female racers in displays and special exhibitions – including the Automotive Hall of Fame and the Henry Ford – provide young visitors with exposure to female groundbreakers and role models.
It is unfortunate that Danica Patrick – perhaps the most visible and successful woman in the contemporary racing world – has chosen to discourage young girls from participating in motorsport by framing herself as the ‘extraordinary exception’ rather than a role model to which others may aspire. Hopefully the next female racing phenomenon – and there are a few up and coming superstars – will use their platform to encourage and promote women in racing. The future of women in motorsport depends on it.
Albright, Madeleine. “Madeleine Albright: My Undiplomatic Moment.” nytimes.com 12 Feb 2016.
Andrews, Shawn. “Why Women Don’t Always Support Other Women.” Forbes.com 21 Jan 2020.
Blackstock, Elizabeth. “Danica Patrick Really Isn’t Helping Women Get Into Motorsport.” Jalopnik.com 15 July 2023.
Drury, Benjamin J., John Oliver Siy, and Sapan Ceryan. “When Do Female Role Models BenefitWomen? The Importance of Differentiating Recruitment From Retention in STEM.” Psychological Inquiry 22 (2011): 265-269 .
Motorsport.com “‘More than Equal’ Publishes Findings from Female Motorsport Study.” 7 July 2023.
Porter, Catherine and Danila Serra. “Gender Differences in the Choice of Major: The Importance of Female Role Models.” American Economic Journal: Applied Economics 12(3) July 2020.
Rosvoglou, Chris. “Fans were Not Happy with Danica Patrick’s Opinion on Female Drivers.” The Spun July 2023.
Shackleford, Ben. ‘Masculinity, Hierarchy, and the Auto Racing Fraternity: ThePit Stop as a Celebration of Social Roles.’ Men and Masculinities 2(2) (1999): 180-196.
Standley, Edward. “Harnessing the Power of Female Buyers: Insights from Mary Barra, CEO of General Motors.” FutureStarr.com 18 August 2023.
A recent posting on Curbside Classic featured a 1988 Suzuki Samurai advertisement with the quizzical headline: ‘What Young Urban Women Aspired to in 1988?’ The ad features a 30-something woman behind the wheel of the aforementioned vehicle accompanied by a female companion. The women are looking happily out of their respective windows while driving down a charming urban thoroughfare. Without much copy to ponder, the posting was open to comments from interested CC readers. What is interesting in the responses is how often the readers’ experiences support the unspoken premise of the ad. As one responder noted, ‘my mom had one of these. […] there was something about that vehicle that truly appealed to her. Part of it was the size. After 16 years of pretty much exclusively driving the fuselage Chrysler wagon, I think getting back into something small really had its appeal to her.’ Another remarked, ‘I couldn’t understand why she wanted a car that didn’t have a real back seat, which made doing things like picking me up at the airport or carrying anything substantial pretty much out of the question. Now I think maybe that was the whole point for her.’
In order to understand the significance of this advertisement, and the comments it generated, it helps to revisit the automotive advertising to women that preceded it. After World War II, when women were expected to leave their wartime factory jobs to create comfortable lives for husbands in the suburbs, marketing to the female consumer was focused primarily on suitable ‘family’ vehicles. In the 1950s and early 1960s, this mode of transportation was the station wagon. Advertising for these automobiles often featured idyllic scenes of mother and [many] children engaging in dad-less family activities around the car, as well as busy mothers with growing families for whom roominess in a vehicle was an obvious necessity.
In the 1960s and early 70s, the station wagon was replaced by the hatchback, which was, as one advertiser claimed, ‘the car designed around a shopping bag.’ In the mid 1980s the world was introduced to the minivan, which as the perfect vehicle for carrying kids and cargo, was unofficially dubbed the ‘soccer mom’ car. Minivan advertising featured moms with kids and groceries and bikes and sporting equipment, all which reinforced the association of family vehicles with the woman behind the wheel.
Yet before the minivan morphed into the ubiquitous SUV, a few automotive advertisers – primarily of import vehicles – suggested [gasp!] that the female consumer could be someone other than a mom. The late 1980s/early 90s Subaru campaign reflected this sentiment. As the commenters noted, the Samurai lacked a back seat, which meant there was no room for kids. And its sporty appearance suggested the possibility of adventure outside of playdates, t-ball games, and the banality of suburban neighborhoods. While the women pictured in family car advertising appear content, those in the Suzuki campaign seem downright ecstatic. Other ads in the campaign emphasize the vehicle’s ‘fun-ness’ and remark on its multiple identities as sporty, outdoorsy, and rugged. As the polar opposite of the ‘mom’ car, Suzuki advertising promised an exciting, adventurous, and well-deserved getaway for married and single women alike. Noted a Curbside Classic commenter, ‘I had a female co-worker who had a Samurai – it served as both her nice day-in-the-summer and her winter weather car. Interesting little fleet for a woman in her 20s.’
