What a vintage Beetle has to do with speeding grannies and the challenges of family travel.
Many years ago — okay, maybe three — I came across Andrew Bush’s fantastic photos of everyday people cruising the freeways of Los Angeles, thanks to Very Short List, one of my 5 favorite newsletters for a better, more interesting life. This week, Public School reminded me of the Vector Portraits series, immortalized in the excellent coffeetable book Drive — a selection of Bush’s best photographs, exploring the often uncomfortable intersection of the public and the private through his peculiar drive-by portraits.
Each image of car and driver captures the personality of the person behind the wheel with surprising simplicity, candid yet unabashedly creative, resulting in what Cathleen Medwick eloquently calls “a meditation on character, class, [and] the human condition, precarious at any speed.”
Bush takes his portraits by driving alongside his subjects, often at 60mph, with a camera attached to his passenger window. The captions on each photograph, frequently imbued with subtle humor, include notes on the speed and direction he was going. An essay by cultural critic Patt Morrison contextualizes the series and an interview with Bush offers a peek inside the mind and creative process of one of today’s most remarkable photographic artists.
With images spanning nearly 15 years, Drive is as much a time-capsule of techno-anthropology, with its evolving car models and hairstyles, as it is a rich and peculiar collective portrait of car culture and the myriad vehicles of human character that fuel it.