previews

  • Paul Fusco, Untitled, from the series “RFK Funeral Train,” 1968, dye destruction print, 18 × 27". From “The Train: RFK’s Last Journey.”

    “The Train: RFK’s Last Journey”

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    March 17 - June 10

    Curated by Clément Chéroux and Linde Lehtinen

    The 1968 assassination of Robert F. Kennedy—who promised to heal racial divisions, redress income inequality, and end the war in Vietnam—devastated Americans who dreamed of the realization of those aims. As his body was carried by train from New York to Washington, DC, for burial, supporters lined the tracks—waving, crying, praying, and holding handmade signs. This collective expression of grief and solidarity was captured by photographer Paul Fusco. Approximately twenty of Fusco’s prints will be shown alongside Rein Jelle Terpstra’s The People’s View, 2014–18, an archive of some sixty-five amateur snapshots, slides, and home movies taken by the onlookers themselves, and Philippe Parreno’s haunting 2009 film June 8, 1968, which reenacts the event. A catalogue with an essay by the curator and interviews with the artists will be published by Les Éditions Textuel. Travels to Les Rencontres d’Arles,  France, July 3–September 24. 

  • Clarence Holbrook Carter, War Bride, 1940, oil on canvas, 36 × 54". From “The Cult of the Machine.”

    “Cult of the Machine: Precisionism and American Art”

    de Young Museum
    50 Hagiwara Tea Garden Drive
    March 24 - August 12

    Curated by Emma Acker

    A large-scale survey of a quintessentially modern American art, “Cult of the Machine” assembles paintings by interwar Precisionists, among them Elsie Driggs, Charles Demuth, Charles Sheeler, and Francis Criss, with photographs, films, decorative arts, and industrial objects—including a classic Cord Phaeton automobile—totaling more than one hundred items. At a moment when high tech dominates American cultural consciousness, it’s illuminating to recognize how the machine age was similarly tempered by affective responses of attraction and anxiety. From Morton Livingston Schamberg’s Telephone, 1916, and Driggs’s Aeroplane, 1928, to Walter Dorwin Teague’s ca. 1935 midnight-blue Nocturne radio, Alma Lavenson’s photographs of oil tanks in Alameda, California, and Clarence Holbrook Carter’s War Bride, 1940, which casts a steel mill as a cathedral, this exhibition explores how artists simultaneously embraced and critiqued modernity’s industrial products. An accompanying catalogue will feature texts by the curator and others. Travels to the Dallas Museum of Art, September 9, 2018–January 6, 2019.