The Living is Easy: BMW M440i xDrive Convertible

(This piece also appeared on BMWBLOG on July 30th, 2023. You can check it out here.)

Let’s get this out of the way first:  I dig this car’s grill.  More on that later.

 The car you see here is a 2023 BMW M440i xDrive Convertible, BMW’s just-below-an-M, mid-sized, open-aired joy machine.  (And since BMW’s contemporary vehicle nomenclature can be a bit of a mouthful, we’ll just call this one the “M440i”.) In BMW parlance, this example is the second-generation of the 4-series platform, code G20/G22/G23 for the intelligentsia (the convertible is the G23) and was first released in mid-2020 as the first significant update to the 4-series platform (code F32/F33/F36) originally launched in 2014.  Notably, the G23-model convertible BMW moved away from the previous folding hardtop to a more classic multi-layered soft top design, an aesthetic and functional return to the past that, to this reviewer’s mind, is an improvement is every way.

 Assembled like all 4-Series cars at BMW’s plant in Dingolfing, Germany, this particular M440i is loaded with numerous goodies from the BMW options list, including the Dynamic Handling Package, Parking Assistance Package, Adaptive M Suspension, and gorgeous BMW M 50-Years Roundel.  It’s painted a lustrous color BMW calls Tanzanite Blue II Metallic, a stunning, deeply shimmering base for any-and-all fingerprints, with the interior in Tacora Red Vernasca Leather, which reads closer to a French Burgundy color than a true red.  It’s an elegant, timeless combo on this car, and immensely popular with pedestrians and other drivers, given the number of compliments I’ve received while tooling around.  The MSRP on this car, with its robust list of goodies, was $77,765.

 The convertible’s fabric convertible roof weighs roughly 40% less than the previous generation’s rigid folding top and takes only 18-seconds to open and close (which can also be done at speeds up to 31-mph, handy for those “first drops of rain” moments).  The frame of the top uses large panel-bow elements with honeycomb construction for lightness and rigidity and features a flush-sitting glass rear window with full defrost.  The top is extremely quiet, allows for a sleeker coupe profile, and increases trunk space from the previous generation, with 9.0-cubic/ft of storage space and a pass-through for longer items.

 As with most 4-seat convertibles, the M440i is fitted with a manual wind deflector to quiet turbulence in the cabin, and the deflector comes with its own cargo bag to store in the cabin.  While it’s simple to fit and certainly works as designed, in practice it’s a bit of a chore to install and most drivers will either leave it in place (hello, Florida or Arizona) or rarely if ever fit the device at all (hello, the rest of the world).  A permanent, powered wind deflector for a 4-seat convertible remains one of the engineering holy grails it seems.

Inline-6 for the Win

BMWs are righty lauded for their Inline-6 motors, the configuration that’s been the marque’s calling card for generations of cars.  (With a few oddballs thrown in; I still get misty thinking about the bespoke V8 in the E92 generation of M3 cars.) This iteration is a worthy addition to that legacy.  Codenamed B58, this motor is a 3.0-liter twin-scroll turbocharged inline-6, which began production in 2015.  The water-to-air intercooler is integrated into the intake plenum, and the engine is equipped with both of BMW’s “killer-V” technologies (Double Vanos, aka variable valve timing, and Valvetronic, aka variable valve lift).  At 7000rpm, the B58 makes 382-hp and 369-ft/lbs of torque from 1800rpm onwards.

Power is put down through the ubiquitous ZF-sourced 8-speed automatic transmission, and in this car’s case, BMW’s available xDrive AWD system coupled to an M-Sport differential and suspension.  (And while I, like most enthusiasts, would love the option of a manual, this car’s personality is well flattered by the ZF.)  Performance is impressive.  The car launches from 0-60mph in 4.7-sec according to BMW, who is known for conservative official performance numbers.  Other instrumented road testers have measured the same acceleration as 4.1sec for the 0-60 sprint, and some have measured even quicker to that.  Suffice it to say it scoots and is even quicker than the aforementioned V8-powered M3.

The Nose Knows

Now, about that front grill.  Recently, more angst-ridden sentences have been written about the large kidney grill on the 4-series than tears shed at the Hatch Chile Eating Contest, but what many reviewers and casual observers fail to note is the historical context of the design.  Much of the howling distills down to one errant point:  How could BMW dilute the elegance of the classic kidney grill to such a degree?  But this fails even the most basic contextual observation, that being that there is literally no single benchmark shape of the kidney grill design over time.

BMW 328, running at the Mille Miglia

Witness, for example, one of the most classic of all BMWs, the 1930s-era 328.  It’s a stunning design by any measure, held in esteem by Bimmer fans everywhere.  And one that also has a huge grill that spans the entire vertical width of the vehicle.  Precedent!  (Also, anyone who glimpsed the luscious 328 Hommage Concept from 2011 shouldn’t have been surprised when the double-height grill made another appearance.)

For a quick primer on kidney grill shapes over the years, BMW provides an excellent guide: “The BMW Kidney Grille Through Time.”  From the 503 to the M1 to the E9 CS to the i3 to the XM to the current-generation 4-series, there exists a wonderful variety of kidney grille shapes and sizes for almost the past one hundred years of BMW design.  And with even a cursory glance at the current lineup of BMWs on today’s market, it’s clear we’re living in a golden age of BMW grill shapes.  Do I love them all? No.  Am I delighted there’s such variety?  Absolutely. 

All that said, ultimately design and aesthetics is down to the eye of the beholder, and to my eye, the 4-series design is elegant, dramatic, and proportional.  (And the hood scallops on the M3/4 models make it even more so.) Most of all, it’s distinctive; there’s no doubt what model you’re seeing when you see a 4-series from the front.

When is an M-car Not an M-car?

The M-Performance designation of BMW’s has also caused relative Sturm und Drang amongst the aficionados, who view any “dilution” of the M-brand as heresy to be handled with Bastille Day fervor.  But this reviewer thinks BMW did an immense service to lovers of well-balanced performance cars everywhere by creating this “almost-M” line of engines and suspensions.

Perhaps this will get me excommunicated from BMWBLOG, but I find most contemporary M-cars to be almost too punishing and challenging to drive on most normal roads (especially those in the US, which tend towards broken pavement and a patchwork of materials), not to mention with levels of engine power that are impossible to access in any manner short of felonious or irresponsible.  Enter the M-Performance series of vehicles.  With power levels that aren’t obscene and suspension tuning that trends towards the more compliant, the M-Performance range live in a Goldilocks Zone between largely pedestrian and over-the-top.

For example, this M440i convertible.  Regardless of how you spin it, a convertible of this type tends towards the GT side of the automotive continuum, rather than as a pure sports car (BMW offers the Z4 for that).  While the M4 Convertible is an utter hoot, it can be a bit harsh, and if you’re really flogging it to get at what makes it so special, the topless nature of the car exposes compromises in both stability and passenger comfort that just don’t make much sense.  You don’t buy a car like this to be beaten up; you buy a car like this for the serenity and joy of wafting along in open air, the sights and smells of the environment blending with the tactility of the car for that special driving pleasure experience.  The overall M-Performance package absolutely delivers.  It’s likely more car than you’ll ever need but provides just the “right amount of that much more” that you’ll really want.

Top-Down Bonus Ratio

A few years back, when I reviewed the M235i xDrive Convertible, a friend stuck his nose in a spreadsheet, did some fancy cyphering, allegedly had a cocktail or two, and calculated that each day of top-down driving was worth 6.4-days of driving with the top up, for a ratio of 6.4:1.  With this M440i convertible, I’d likely revise that to be an even higher ratio, as the enjoyability of this car (top up or down, honestly) is immense.  The engine starts with an appealing little bark, then settles down to a tensioned smoothness at idle, which builds quickly (with the usual modern turbocharged flatulence) in all gears.   The transmission’s Sport setting is your exuberant friend for most daily chores and has the added benefit of disabling the Auto Start/Stop system; there’s no dedicated button to do that, as in full-M models.  (Though in fairness, the Start/Stop system in this car is almost transparent, thanks to the 48v mild-hybrid system that smoothly relights the engine with even the gentlest lift from the brake pedal when at a standstill.)

Recently, on a drive from West-Central Missouri down through the wonderfully twisting (and newly paved) Ozark roads in and around Bentonville, Arkansas, I had an opportunity to really flog the car a bit.  Handling is precise and direct, with little of the dead-on-center feel of the last couple of generations of BMW 3- and 4-series cars.  Steering response isn’t as leisurely as on non-M-Performance models, but also not as darty as on contemporary full-M models.  That Goldilocks Zone is very much in play here.

As with all M-Performance models, the M440i lets you choose between several drive modes to tune the car’s overall feel.  These modes are accessed through four buttons on the center console, labeled Sport, Comfort, Eco Pro, and Adaptive.  Each mode is distinctive, but after living with the car a bit, I settled on Adaptive with the transmission in Sport mode as my typical setting, to bring the car alive but not in a harsh way.  Serenity is the point of cars like this.

Cowl shake over lousy pavement or railroad tracks is barely noticeable, and the difference in rigidity between the convertible and the hard-top model is negligible and more than outweighed by the bonus of being out in the world.  That said, I’m a fan of convertible cars in general and thus I’m clearly in BMW’s target market here, but even for those who wouldn’t normally gravitate to topless versatility, the gap between the coupe and convertible in terms of driving dynamics seems minimal.

The Living is Easy

As a flexible GT car that offers the distinctive benefit of letting you literally smell the roses and work on that always-fetching wind-blown look, the M440i xDrive Convertible is a well-resolved and engaging package.  It’s planted on the road, powerful, and comfortable, and has a shape and presence that sets it apart from other mid-sized, 2+2 convertibles on the road (admittedly a small class).  A day wafting along behind this steering wheel is time well spent indeed.  For those looking for a versatile and capable premium convertible, it should be at the top of the wish list.

BMW’s Next Art Car: Julie Mehretu

(This piece originally appeared on BMWBLOG on June 30th, 2023. You can check it out here.)

At a vibrant event at New York’s Guggenheim Museum on June 28th, BMW announced Julie Mehretu as the 20th Art Car artist.  The vehicle chosen as the next Art Car canvas is the BMW M Hybrid V8 race car, which will race the famed Le Mans 24 Hours event in 2024.

Julie Mehretu: An Artworld Superstar

Julie Mehretu was born in Addis Ababa, the capital city of Ethiopia, in 1970, and along with her family moved to the USA at the age of seven. She received her B.A. from Kalamazoo College, Michigan, graduated from The Rhode Island School of Design with a Master of Fine Arts degree in 1997, and spent a year studying at Cheikh Anta Diop University, Dakar Senegal.

Known primarily for her layered, narrative, large-scale abstract paintings, Mehretu’s work incorporates themes as diverse yet interrelated as politics, literature, and music.  Her paintings have an unmistakable dynamic vibrancy, with her latest work blending images from media depicting conflict, societal injustice, and social unrest.  She has maintained a studio in New York City since 1999.

Mehretu has received numerous awards for her work, including a MacArthur Award and the US Department of State Medal of Arts Award, and in 2021 she became a member of the American Academy of Arts and Sciences and the National Academy of Design.

Mehretu’s BMW Canvas

The canvas for Mehretu’s Art Car will be the BMW M Hybrid V8 race car, which made a splash the weekend before the Guggenheim unveiling by earning its maiden victory in the IMSA GTP-class at Watkin’s Glen in upstate New York.  Returning to prototype racing for the first time since 1999, when the BMW V12 LMR won the 24 Hours of Le Mans, the BMW M Hybrid V8 is powered by a 4.0-liter, eight-cylinder turbo engine coupled with a supplementary electric motor. (The P66/3 combustion engine is based on the unit used in the BMW M4 DTM in 2017-2018.) This hybrid drive system has a regulated output of approximately 640-hp and makes approximately 650-Nm of torque, good for a maximum speed of up to 345 kph/215 mph, depending on track layout.

BMW’s chassis partner for the car is legendary Italian race car specialist Dallara.  The Italian designers are among the most successful manufacturers of race cars in the world.


A Unanimous Nomination

In 2018, an international jury, composed of artworld heavyweights from the museum and gallery worlds, met to consider the next artist to be selected for the BMW Art Car program.  Julie Mehretu was their unanimous choice. 

Said Madeleine Grynsztejn, Pritzker Director, Museum of Contemporary Art Chicago:

“Julie Mehretu is the perfect artist for this early 21st century. To merge her work with the shape and form of a speeding vehicle is really an alignment of perfection. For years, Julie has painted speed and for a long time worked very successfully at scale. This means to me that she will be able to create a form that you can see from a distance because with many of her large commissions, you need to back up to really enjoy them. She has an understanding of space and speed that is a perfect partner to the BMW Art Car.”

Other Jurors were equally effusive in their praise.  Said Okwui Enwezor (1963 - 2019), former Director, Haus der Kunst, Munich: “Julie Mehretu’s work incapsulates different questions of movement. She expresses dynamism within a form. It is a very clear and sound understanding of how the object acts in space. And I think this really makes it a very exciting proposition to have an artist of her caliber who has the long-standing experience to take on this project.”

BMW & The Art World

Art Car #1: Alexander Calder’s BMW 3.0 CSL

At its unveiling, the M Hybrid V8 sat like an otherworldly movie prop in the lobby of the Guggenheim’s alabaster main hall, the car’s naked carbon fiber body hinting at design possibilities to come.  Previous Art Car artist Jeff Koons snapped pictures with his mobile phone, while various dignitaries and enthusiastic supporters from the art and automobile worlds took in the stunning architecture of Frank Lloyd Wright’s iconic building.  Club music pulsed and an innovative multimedia display projected names of previous Art Car artists and car images on the swirling interior balconies of the building.  BMW also exhibited models of each of the previous Art Cars, in display cases fit for a museum (certainly appropriate in this instance.)

BMW’s involvement with the Guggenheim goes back to 1986, when they sponsored “The Art of the Motorcycle” exhibition, an event with caused quite a stir in both the art and motorcycle/automobile communities for its then-novel juxtaposition of two seemingly disparate worlds.  The event proved prescient, though, as it foreshadowed how the art and corporate design worlds would blend seamlessly in many different venues and occasions over the next few years.  It also deepened BMW’s significant involvement and support of visual arts programs worldwide.

In 2011 through 2014, BMW partnered with the Guggenheim for the innovative “BMW Guggenheim Lab,” which travelled to major cities (New York, Berlin, and Mumbai) aiming to inspire an ongoing conversation about important urban challenges around the world.  The company has also been a supporter of the Art Basel series of art fairs (particularly in Miami) for many years, an event they’ve used to introduce numerous new design directions and stylistic themes.

Why is BMW so visibly committed to supporting the arts?  According to Ilka Horstmeier, Member of the Board of Management of BMW AG, People and Real Estate, Labour Relations Director, it’s been BMW’s philosophy to do so for over fifty years.  “It all started with Gerhard Richter (referencing the artist from whom BMW commissioned three major paintings in 1972 for its Munich headquarters). We wanted to give our people an inspiring work environment, and supporting artwork was an integral part of that.  [Art] is deeply rooted in BMW’s genes.”  Moreover, she’s clear about the value to BMW’s brand from its support of the arts.  “We’re not just here for altruistic reasons.  People get emotionally attached to these cars.  That can only be good for BMW’s business.”

BMW Art Cars: Literal “Performance Art”

Art Car #4: Andy Warhol’s M1

The history of BMW’s Art Car program is as unexpected as it is delightful.  In 1975, Frenchman Hervé Poulain, a young auctioneer and racing driver, hatched a plan to combine his two life passions into one.  He approached Jochen Neerpasch, founder of BMW Motorsport, about providing him with a BMW 3.0 CSL to run in the 1975 Le Mans 24-Hour race, and approached his friend, American artist Alexander Calder, about creating a memorable design for the car.

As reported by French auction house Artcurial, Poulain purchased a model of a 3.0 CSL from a toy shop and set off to meet Calder in Saché, France, where he was staying.  Calder bought into the plan.  Over lunch, Calder wrote out in longhand to Neerspasch his commitment to participate: “OK to paint the car of Poulain and his colts, regards to everyone.”  (The French word “poulaine” means “colt” in English.)

Recognizing the unique value they’d created, BMW insured the car for DM 1 million (~US$430 000), and Poulain (along with co-drivers Sam Posey and Jean Guichet) ran a competitive race until the sixth hour, when the car was retired with a broken driveshaft.  Though an unfortunate result, the car was a big hit with both fans and BMW itself.  The Art Car program was born.

(In a wonderful postscript to that effort, when the Andy Warhol M1 Art Car raced at Le Mans in 1979 and finished sixth, one of the three-driver team was, fittingly, none other than Hervé Poulain himself, his efforts justifiably rewarded with a place in both art and racing history.  Said Warhol about his design:  “I love this car. It’s better than any work of art.”)

Over subsequent years, BMW engaged additional art world luminaries, such as Frank Stella, Roy Lichtenstein, David Hockney, Jeff Koons, Ken Done, Sandro Chia, Coa Fei, and others, to express their artistic visions using the mechanical palate of various BMW cars.  Until 1986, all the Art Cars were racing cars that participated in race events.  With Robert Rauschenberg’s 635 CSi in 1986, BMW began to work production models into the Art Car mix.  (And in the case of Ólafur Elíasson, something different entirely).  In all, BMW has partnered with nineteen artists since 1975 to create these unique rolling artworks, the most recent being John Baldessari’s M6 GTLM in 2016, which raced in the IMSA series in the US.  (Baldessari notably said of his car, “[it’s] the fastest artwork I’ve ever created.”)

Art Car #15: Jenny Holzer’s BMW V12 LMR

(This writer’s favorite Art Car has to be Jenny Holzer’s V12 LMR, which raced at Le Mans during the 1999 campaign.  The white racing car was painted with phrases from Holzer’s “Truisms and Survival Series,” such as “Protect Me From What I Want” and “Lack of Charisma Can Be Fatal,” in vibrant chromium and phosphorescent paint.  Holzer, whose father was a car dealer, brought her trenchant criticisms of Western society to the vibrant and iconic racing event in a subtly provocative manner.  While Holzer’s Art Car didn’t finish the race, one of its sister cars claimed the overall victory.)

Perhaps surprisingly, artists aren’t directly compensated or actively recruited by BMW to participate in the Art Car program (though they are provided significant materials), but this also provides each artist with total creative freedom; once selected for the program, BMW has steadfastly taken a “hands off” approach to what each artist creates.  In a 2020 interview in British GQ, BMW Board Director Ian Robertson said, “Artists have to want to do this, they come to us.  We don’t pay them, either.  The lure is that they become part of history.”  Added Robertson, “The moment you say, ‘You don’t have total creative freedom’, then what’s the point?”

All in all, artists from over nine countries (and five continents) have been represented in the Art Car program.  After being raced or completed, the Art Cars are kept and maintained by BMW at the BMW Museum in Munich, and periodically turn up at automobile and art events around the world, providing both art- and BMW-aficionados the rare opportunity to see these unique creations.  (You can find a full list of the existing nineteen Art Cars HERE.)

What’s Next for Art Car #20

Julie Mehretu has already begun working on her final design for the car, first on a 1/5-scale model and ultimately on a full-sized version later this year.

With weight so important to racing machines, the specific materials for the car’s finish are a consideration for the artist as she works with the BMW team.  Said Timo Resch, Vice President Customer, Brand, Sales at BMW M GmbH, “She envisions her final artwork to be very lightweight,” explaining that the team is working through whether to use a wrap of some sort, airbrushed paint, or some combination of the two materials.  “She absolutely doesn’t want to compromise the car’s performance.”  He paused and chuckled a bit.  “Though if she comes up with some aerodynamic device that improves the car, we’re all for it.”

At the Guggenheim, after being introduced by Thomas Girst, Global Head of Cultural Engagement at the BMW Group, Mehretu spoke about how pleased and honored she was to be included in such significant artistic company, and her thrill at tackling the design challenge.  “This is a moment to push the [design] of the vehicle to be more than the car can otherwise be.  That blur of a racecar going by is one of the first things that struck me when I saw this car on the racetrack,” referencing her visit to Daytona earlier in the year to see the car perform its initial on-track tests.  “That moment of a car speeding by, the uncertainty of it, is interesting for me to investigate.  And a big part of art is play.”  She added, “That uncertainty, of a racecar at speed on the edge, is something I want to explore in creating something like this.”

With the official announcement of both the artist and platform complete, the question of when the public will see the completed car was on everyone’s mind.  At a breakfast for the press the morning after the evening Guggenheim event, a questioner asked Ilka Horstmeier when we might see Mehretu’s finished Art Car.  She paused before speaking, looking a bit mischievous.  “Timo, how many days until Le Mans?”, she asked Resch, who was sitting at a nearby table.  “364 days,” he answered.  She smiled before answering the questioner.  “Well, certainly no more than 364 days.”