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The project has a second act: while one Dodge Charger sits in Marfa, Phillips will be back in New York working with a custom fabricator to “reimagine” an identical Dodge Charger in a way that evokes Playboy’s Phillips said, “a touchstone where all these different aspects of our lives - art, politics, sex - come together without contradiction.” But the neon light is the central element. “That car, the muscle car, became an emblem of personal luxury in the same way that Playboy was,” Phillips added.

The pitchedĪngle at the top came to Phillips after walking the banked turns at the Daytona racetrack, where, at the same time that Judd was setting up his practice in Marfa, Richard Petty was winning the Daytona 500 in a Dodge Charger. There gets a great deal of focus.” The plinth is aesthetically aligned to Judd’s geometric concrete sculptures at the Chinati Foundation nearby in Marfa. “He famously said that in West Texas there’s a lot of land, but nowhere to go. “Donald Judd in 1971 visitedĪnd realized that this type of vast, wide open space was the new frontier for art,” Phillips said. Phillips intended each of the installation’s constituent parts - the car, the concrete form, the neon light, the setting - to recall early ’70s American culture.

“I loved his idea of this glowing symbol in the middle of nowhere as we - Playboy - are emerging from Of the old-school magazine pictorial - who was a natural fit for the brand, Smithers said. It’s the work of Richard Phillips - the artist best known for his hyper-realistic portraits of women, often in the mode Wakefield and Landis Smithers meant to reintroduce the brand for a younger generation.

Playboy Marfa, as it’s being called, is the first in a series of art projects commissioned by Playboy’s new creative team of Neville Over the next few months, motorists speeding through the West Texas desert on Highway 90, just outside the arts town of Marfa, will encounter an unexpected roadside attraction: a white neon Playboy logo hovering above a matte-blackġ972 Dodge Charger perched at an 18-degree angle atop a concrete plinth.

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