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Review: Joey Holder: Ophiux

Review: Joey Holder: Ophiux Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 EXHIBITION REVIEW Battling in a Cave (2016), plays on an unfortunate inscription Joey Holder: Ophiux with those words found under the topcoat of Malevich’s Black WYSING ARTS CENTRE Square. Carved into each of Gallagher’s densely collaged canvases CAMBRIDGE, UK were a couple of amorphous figures, facing one another as people SEPTEMBER 25-NOVEMBER 20, 2016 might in a fight. These amoeba-looking protagonists recalled how researchers discovered Malevich’s nasty joke when inspecting Likened by the artist in an accompanying interview to a scientific his painting via X-ray. In this regard, Gallagher’s suite blew up a lab/medical room, the installation of Joey Holder’s Ophiux at Wys- racist microaggression to monumental portions, inviting visitors to ing Arts Centre welcomed visitors into an uncanny futuristic world. reexamine the history of the black monochrome by searching for the The floor was bright white rubber, necessitating blue plastic shoe enigmas buried in individual examples of this painting genre. With covers on entrance that muffled the sound of footsteps. Voices were Gallagher’s provocation in mind, the exhibition’s numerous black muted, adding an air of hushed reverence to an environment that monochromes, even those by canonical artists such as Sol LeWitt, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Afterimage: The Journal of Media Arts and Cultural Criticism University of California Press

Review: Joey Holder: Ophiux

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Publisher
University of California Press
Copyright
© 2017 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.
eISSN
2578-8531
DOI
10.1525/aft.2017.44.4.28
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 EXHIBITION REVIEW Battling in a Cave (2016), plays on an unfortunate inscription Joey Holder: Ophiux with those words found under the topcoat of Malevich’s Black WYSING ARTS CENTRE Square. Carved into each of Gallagher’s densely collaged canvases CAMBRIDGE, UK were a couple of amorphous figures, facing one another as people SEPTEMBER 25-NOVEMBER 20, 2016 might in a fight. These amoeba-looking protagonists recalled how researchers discovered Malevich’s nasty joke when inspecting Likened by the artist in an accompanying interview to a scientific his painting via X-ray. In this regard, Gallagher’s suite blew up a lab/medical room, the installation of Joey Holder’s Ophiux at Wys- racist microaggression to monumental portions, inviting visitors to ing Arts Centre welcomed visitors into an uncanny futuristic world. reexamine the history of the black monochrome by searching for the The floor was bright white rubber, necessitating blue plastic shoe enigmas buried in individual examples of this painting genre. With covers on entrance that muffled the sound of footsteps. Voices were Gallagher’s provocation in mind, the exhibition’s numerous black muted, adding an air of hushed reverence to an environment that monochromes, even those by canonical artists such as Sol LeWitt,

Journal

Afterimage: The Journal of Media Arts and Cultural Criticism – University of California Press

Published: Jan 1, 2017

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