Liz Glynn
31 Oct 2015 - 22 May 2016
© Liz Glynn
Detail of Untitled (after Balzac, with Burgher), 2014,
courtesy of the artist, Paula Cooper Gallery, New York, and Redling Fine Art, Los Angeles. Photo: Brica Wilcox.
Detail of Untitled (after Balzac, with Burgher), 2014,
courtesy of the artist, Paula Cooper Gallery, New York, and Redling Fine Art, Los Angeles. Photo: Brica Wilcox.
LIZ GLYNN
The Myth of Singularity
31 October 2015 – 22 May 2016
The Myth of Singularity (2014) is a suite of eight bronze sculptures by Los Angeles-based artist Liz Glynn, produced from plaster props generated during the performance The Myth of Singularity (after Rodin), which took place at LACMA in 2013. At that time, Glynn embarked on [de]-lusions of Grandeur, a cycle of performances that unfolded in five chapters throughout the year. Glynn conducted extensive research on the works of August Rodin, Alexander Calder, Richard Serra, Tony Smith and Donald Judd in our collections to respond to the process of creating, moving, and erecting large-scale sculptures, and the frequently Herculean efforts necessary to do so.
The first performance, The Myth of Singularity (after Rodin) featured Glynn working in LACMA’s B. Gerald Cantor Sculpture Garden for two consecutive days (January 19 and 20, 2013). Assisted by a group of ten sculptors, Glynn explored in this performance the process of replication, recombination, and shifts in material and scale often used by Rodin in producing works later regarded as singular acts of brilliance.
The Myth of Singularity
31 October 2015 – 22 May 2016
The Myth of Singularity (2014) is a suite of eight bronze sculptures by Los Angeles-based artist Liz Glynn, produced from plaster props generated during the performance The Myth of Singularity (after Rodin), which took place at LACMA in 2013. At that time, Glynn embarked on [de]-lusions of Grandeur, a cycle of performances that unfolded in five chapters throughout the year. Glynn conducted extensive research on the works of August Rodin, Alexander Calder, Richard Serra, Tony Smith and Donald Judd in our collections to respond to the process of creating, moving, and erecting large-scale sculptures, and the frequently Herculean efforts necessary to do so.
The first performance, The Myth of Singularity (after Rodin) featured Glynn working in LACMA’s B. Gerald Cantor Sculpture Garden for two consecutive days (January 19 and 20, 2013). Assisted by a group of ten sculptors, Glynn explored in this performance the process of replication, recombination, and shifts in material and scale often used by Rodin in producing works later regarded as singular acts of brilliance.