previews

  • Video documentation of NIC Kay’s performance
    Get Well Soon!, 2017
    , Judson Memorial Church, New York, 2017. From “contemptorary: Deep-Time Construction.”

    “Contemptorary:  Deep-Time Construction”

    CCA Wattis Institute for Contemporary Art
    1111 8th Street
    May 31 - July 28

    Curated by Leila Grothe

    Eunsong Kim (poet, translator, and writer) and Gelare Khoshgozaran (artist and writer) cofounded the online arts platform contemptorary.org in 2016, and have since published thoughtful, wild, and necessary writing focused on queer and women artists of color. Following a teaching residency at CCA’s graduate program in fine arts this past spring, the two will be extending the tendrils of their project with this exhibition of time-based works by artists such as NIC Kay and Asma Kazmi, and essays by Nazik Dakkach and Jennifer Tamayo, among others, addressing time as it relates to movement and space, and the ways in which the markers of colonialism evolve. Vital texts will certainly emerge from this multipart collaboration and pedagogical experiment. As Kim and Khoshgozaran write: “We map out our world word by word, one picture at a time, bludgeoning the violence of everyday: intellectual or otherwise.”

  • 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.