reviews

Andreas Hofer

Goetz Collection

Time seemed to flow in all directions in this show. While the exhibition’s title—“Andy Hope 1930”—suggested a chronology, 1930 wasn’t the only year that played a role: The 1950s and ’60s were also evoked, largely via images from comics and science-fiction movies, though quotes from the history of modern art and ancient mythology turned up as well. A prime example of this anachronism was the largest picture in the show, the nearly sixteen-and-a-half-foot long Thunder Agent Nevada Doom 4419, 2004. It shows a golden chariot that floats above a sea of flames as it is pulled by red, blue, white, and black horses. A figure with its fist held aloft—a warrior, saint, or sun god—is standing in the chariot. Down below, a tiny form in the ravaged landscape might be Superman praying or just an awestruck believer wearing a red cloak. Saint Elias as a Christian incarnation of a heathen sun god and the

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