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From the outside, it looks like any other house in the neighborhood: well-landscaped grounds, two-car garage, yes, a nice little suburban sanctuary. You imagine matching carpets and drapes inside, maybe a couple of Little League trophies, portraits of the kids, and ceramic kittens. You are wrong. Inside this particular San Fernando Valley home, you'll find a different vibe indeed. An old barber's chair sits inexplicably in the living room, which is peppered with vintage car parts and painting supplies. No Little League trophies-the dominant motif here is skulls. Lots of them.

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Which brings up the third point: Williams' work is a direct challenge to the viewer; a painting like Ranch of Disease is not designed to sit quietly in the background at an upper-crust social or in a posh bank lobby, which is part of the point. And a growing number of young artists who draw inspiration from Williams agree.

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Along with contemporaries like R. Sloan and The Pizz, Ausgang's work celebrates the Williams spirit without directly copying its style. Drawing unrepentantly from the well of pop culture, including hot rods, comic books, cartoons, monster flicks, rock and roll, you name it, artists of this so-called "low-brow" aesthetic have been christened everything from Kustom Kulture to Cartoon Expressionism to Comic Surrealism, but one thing everyone involved seems to agree on: Whatever you want to tag this new genre, Williams is the spiritual godfather.

Of course, along with such honors come plagiarists and cheeseball imitators.

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Williams has a unique perspective on it. Some people made good money off it, some people brutally took what I came up with on my own and utilized it for advertising and record covers and made what I did look crappy. But see, on the other hand, I picked up stuff from older people too And some of those older people were the best teachers a cat like Williams could have.

Despite formal training at the Chouinard Institute now the prestigious Cal Arts Academythe man's true schooling came from the source itself-the personal company of Von Dutch and Ed "Big Daddy" Roth in the mid-'60s, two visionaries whose multidisciplinary approach forever blurred the distinction between machinists, car customizers, and artists.

And that is the way to take any kind of machinery-like a toaster, or a coffee machine, or a garbage disposal-and give it an essential soul.

It's exactly like American Indians getting a Springfield '73 rifle, putting rawhide around it, putting brass tacks on it, and making it an 'Indian gun. And Von Dutch had this ability.

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He could make an inanimate, cold, pragmatic thing spiritual. Ed [Roth] and I are still very close, but it's a curious relationship: He sees me as a pornographer, and I see him as kind of a religious zealot.

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We're very, very good friends, and he's been like a father to me. But he still sees me as this unchaste person who has misused his talent to hurt young people. Roth, in a phone interview from his home in Utah, deflects the topic with a diplomatic, "I've always said that we as artists have a responsibility to edit ourselves.

Robert doesn't really believe that.

Everybody's still talking about National Hot Rod Association Funny Car driver Courtney Force's nude photo spread in a July issue of ESPN The Magazine Posing in vintage black lingerie, Bullet Bras and Backseat Betties," a collection of nude portraits featuring professional models vamping in unusual settings like PIN CURLS AND PISTONS / Hot rod babes not afraid to keep motors running all by themselves. Lisa Hix, Special to The Chronicle. Jan. 21, 8. 1 Estimated Reading Time: 6 mins

It's hard to argue. Last year, Williams enjoyed a sold-out exhibit at New York's prestigious Tony Shafrazi fine arts gallery-a major coup in this "low-brow" artist's career.

Dragstrip Girl: Directed by Edward L. Cahn. With Fay Spain, Steven Terrell, John Ashley, Frank Gorshin. Girl loves hot cars and a rich dragstrip racer. Her parents don't like either one Hot Rods and Vintage Babes Simmer at the Invasion Car Show Mike Brooks September 4, AM Skip ad in seconds The slick-haired year-old is doubtless one of the greatest hot rod artists of all time, and ranks among the most influential painters to emerge from the '60s counterculture. And if you ask the

Not long before, Williams was at the helm of the most-attended exhibit in the history of Los Angeles' Museum of Contemporary Art, drawing in excess ofpeople and necessitating the deployment of the LAPD riot squad on opening night. On top of that, Williams' work sells like hotcakes-he's currently got over patrons on a waiting list for paintings, and celebrities Nicolas Cage, Debbie Harry, and Leonardo DiCaprio own Williams originals.

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There's only about 10 people selling in New York, I'm told-but the Guggenheim figures say there are overpeople involved in fine art there, with 10 people selling.

Not 10 hundred, not 10 thousand, but people selling artwork! In hot rod talk, see, that's like me coming up in a '32 Ford flathead roadster and pulling mph across the Salt Flats.

Not bad at all. But perhaps even more significant is Juxtapoz, an alternative art magazine that Williams and his artist wife Suzanne founded several years ago.

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Rife with tattoo parlor and punk rock record ads, and full of the kind of pop-culture-oriented visual art that Williams helped pioneer, Juxtapoz currently enjoys a circulation that ranks it among the top art magazines in the country. Perhaps it's an indication that the reign of old-school fine-arts snobbery is coming to an end.

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Williams won't go quite that far. He knows that museum space is highly coveted, extremely limited, and viciously defended. And no amount of success makes those certain critics who dispense with his work as that of a "slick common illustrator" any less irksome to the painter. And three, since they failed as artists, they think maybe they can succeed at telling you how brilliant some damn thing is.

Every hot rodder in Southern California knows about the Bob's Big Boy in North Hollywood. On Friday nights, retro-rockabilly cats, middle-aged couples, punk rockers, and low-riders come from all over town to show off their wheels and unite in a common love of the loud, the fast, and the vintage.

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It's a good place to get a cheeseburger combo and check out the rebirth of kustom kulture; it's also a good place to get laughed at if you show up behind the wheel of anything post-' Robert Williams' three-window Deuce is all the above. It's his millionth or so rod, culminating a quest for the perfect '32 that started in Montgomery, Alabama, just after the Second World War.

Williams' old man had a full stable of stock cars and drivers, and watching the old Fords running on dirt tracks had a "mystical effect" on the young Williams. Then along came comic books-E.

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Comics, to be specific-and HOT ROD magazine, which to the youthful painter read like "segments out of the Bible. An elite honor in certain dubious car cliques, to be sure, but for Williams the repercussions would be severe. So I discovered that I'd pissed away a lot of time and money on this car, my true love had left me, and I was running around with the wrong crowd, this hot rod club in Albuquerque who were kinda on the rough side.

Deep Ellum turned vintage for the annual Invasion Car show and Pin Up contest.

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Top cast Edit. Fay Spain Louise Blake as Louise Blake.

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