In Lizzy Lunday’s new body of work, we encounter figures and compositions that lightly evoke a range of mythological and religious scenes from the history of art. We see glimmers of Caravaggio’s Entombment of Christ (1602) in the reality-show-worthy snafu of Lunday’s painting Slipping. The lithe, serpentine body of Lamia in Isobel Lilian Gloag’s The Kiss of the Enchantress (c. 1890) reappears in the glowing seductress of Lure. But as Lunday notes, these references are more about their recognizability than any specific narrative import. Both historical references and contemporary celebrities function in her paintings as archetypes, which Jung described as recognizable, psychic structures that are consistent across time periods and cultures. Through these new works, Lunday continues exploring her interest…