New York


Jack Shainman Gallery | West 20th Street

In the six large-format Polaroid photo-works shown here (each consisting of one to six 20-by-24- or 40-by-80-inch sheets), Evergon borrows themes and styles from paintings of the 16th to 18th centuries. Some are based on specific works, as in Re-enactment—Goya’s Flight of the Witches #3, 1986, which shows the prostrate body of a man borne aloft by several men in green cellophane skirts and funny hats, while a donkey and a frightened attendant look on. In others Evergon uses costumes, props, lighting, and composition to give his works a generalized pseudo-antique feel. The Three Fates, 1987—in which three women in 17th-century Dutch dress act out the Greek myth of the title, spinning, casting, and cutting the allegorical yarn of life—is a reminder that many post-Renaissance paintings were themselves restaged and updated versions of earlier themes.

Unlike Richard Polak’s turn-of-the-century

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