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About

Liz Glynn creates sculpture, large-scale installations, and participatory performances that highlight material exploration and a rich conceptual mining of epic historical narratives, monumental architecture, restitution/repatriation debates, and systems of value. Through her intensive hand-crafted process of additive materiality, Glynn addresses the complex histories of cultural property disputes, legacies of “copying,” and cycles of creation and destruction, empire and ruin. Bringing attention to the value of lost, looted, or destroyed cultural artifacts and economies, she critiques the ongoing colonializations of ancient and modern cultures.

Glynn’s work often operates within the long legacy of sculptural copying or the reinterpretation of iconic archetypes. By creating her own sculptural objects or “copies,” Glynn highlights the tricky distinctions between collective cultural work and “individual genius” and points to the complications of the life cycle of objects: What is considered art? What is considered trash, and when? What is use value vs. aesthetic value? What is looting vs. borrowing vs. appropriating? To expand on these questions, Glynn herself takes ancient forms and transforms them with new materials—such as ceramics, jesmonite, paper mache, resin—and processes—hand-sculpting, digital rendering, painting, etc.

The Futility of Conquest, Glynn’s most recent exhibition at Vielmetter Los Angeles in 2023, is the first episode of an ambitious long-term research project that investigates the contested history of the ancient Parthenon sculptures (often referred to as the Elgin marbles) from the Acropolis in Athens, Greece, in what the artist calls a “monument of collective return.” The exhibition included several low-relief recreations of the Parthenon frieze panels, two major new sculptural objects, and two Metope fully-figured sculptural panels.

Liz Glynn was born in Boston in 1981 and lives and works in Los Angeles. She received an MFA from CalArts in 2008 and a BA in Visual and Environmental Studies from Harvard University in 2003. Her major permanent installation, Terra Techne, opened to the public in 2019 in the newly remodeled Harvey Milk Terminal at the San Francisco International Airport. Glynn’s recent solo exhibitions include The Futility of Conquest  at Vielmetter Los Angeles (2023); The Archaeology of Another Possible Future, Mass MOCA, North Adams, MA (2017); Open House, Doris C. Freedman Plaza, The Public Art Fund, New York (2017) (travel; led to Boston in 2018); The Myth of Singularity, Los Angeles County Museum of Art, Los Angeles (2015); and RANSOM ROOM, SculptureCenter, Long Island City, NY (2014); among many other installations and performances nationally. Recent group exhibitions include Ecstatic: Selections from the Hammer Contemporary Collection, Hammer Museum, Los Angeles (2023); Working Thought, the Carnegie Museum of Art, Pittsburg, PA (2022); The American Scene, National Museum of Ceramics, Sevres, France (2019); Fiction, Bold Tendencies, London (2019); Sculpture Milwaukee, Milwaukee, WI (2018); Manifesto: A moderate proposal, Pitzer College Art Galleries, Claremont, CA (2018); Objects Like Us, the Aldrich Contemporary Art Museum, Ridgefield, CT (2018); and many others. Her work is in the collections of the Hammer Museum, Los Angeles; the Foundation Sandretto Re Rebaudengo, Turin, Italy; the Getty Research Institute, Los Angeles; and the Los Angeles County Museum of Art, Los Angeles.

Selected Works

Liz Glynn “Untitled (Barrel Cactus I),” 2022
Liz Glynn
“Untitled (Barrel Cactus I),” 2022
This image depicts an artwork by Liz Glynn titled "Toppled Zeus." This artwork was created in 2023 and measures 30" x 87" x 46" [HxWxD] (76.2 x 220.98 x 116.84 cm). Its medium is Glazed ceramic torso, burnt wood chair, resin-fixed wool drapery.
Liz Glynn
"Toppled Zeus," 2023
This image depicts an artwork by Liz Glynn titled "Walk Back / Give Back (A Proposal for East Frieze Block V #3)." This artwork was created in 2023 and measures 39 ¹⁄₄" x 37 ³⁄₄" x 4 ¹⁄₂" [HxWxD] (99.7 x 95.89 x 11.43 cm). Its medium is Paper-crete low relief on wood panel.
Liz Glynn
"Walk Back / Give Back (A Proposal for East Frieze Block V #3)," 2023
This image depicts an artwork by Liz Glynn titled "Untitled (Apollo and Eros)." This artwork was created in 2023 and measures 48 ¹⁄₂" x 48 ¹⁄₂" x 9 ¹⁄₂" [HxWxD] (123.19 x 123.19 x 24.13 cm). Its medium is Plaster, cement, paper and jesmonite on wood panel.
Liz Glynn
"Untitled (Apollo and Eros)," 2023
Liz Glynn “Panic Dress '23,” 2020
Liz Glynn
“Panic Dress '23,” 2020
Liz Glynn “Untitled (Techne Forest I),” 2019
Liz Glynn
“Untitled (Techne Forest I),” 2019
Liz Glynn “Hollowed Out,” 2019 Cast iron 21 x 21 x 8" [HxWxD] (53.34 x 53.34 x 20.32 cm) Inventory #GLY165 Courtesy of the artist and Vielmetter Los Angeles Photo credit: Robert Wedemeyer
Liz Glynn
“Hollowed Out,” 2019
Liz Glynn “Palm leaf,” 2019
Liz Glynn
“Untitled (Emergency),” 2019
Liz Glynn “Affective Armor,” 2019 Glazed ceramic with silver leaf and stainless steel 59 x 28 x 9" [HxWxD] (149.86 x 71.12 x 22.86 cm) body armor; 75 x 61 x 24" [HxWxD] (190.5 x 154.94 x 60.96 cm) overall dimensions Inventory #GLY147 Courtesy of the artist and Vielmetter Los Angeles Photo credit: Robert Wedemeyer
Liz Glynn
“Affective Armor,” 2019
Liz Glynn “Pressure Study VII,” 2019 Ink on paper 72 x 42" [HxW] (182.88 x 106.68 cm) Inventory #GLY156 Courtesy of the artist and Vielmetter Los Angeles Photo credit: Robert Wedemeyer
Liz Glynn
“Pressure Study VII,” 2019
Liz Glynn “Unfinished Business,” 2019
Liz Glynn
“Unfinished Business,” 2019
Liz Glynn “Head/arms”
Liz Glynn
“Exhaustion / Ecstasy,” 2019
Liz Glynn “Catch and Release,” 2019
Liz Glynn
“Catch and Release,” 2019
Liz Glynn “Untitled (Tumbleweed VIII),” 2017
Liz Glynn
“Untitled (Tumbleweed VIII),” 2017
Liz Glynn “To Forge,” 2016/2017
Liz Glynn
“To Forge,” 2016/2017
Liz Glynn “To Pound,” 2016/2017
Liz Glynn
“To Pound,” 2016/2017
Liz Glynn “To Sow,” 2016/2017
Liz Glynn
“To Sow,” 2016/2017
Liz Glynn "Unearthed Underground," 2019 Bold Tendencies, London, UK
Liz Glynn
"Unearthed Underground," 2019
Bold Tendencies, London, UK
Liz Glynn "Terra Techne," 2019
Liz Glynn
"Terra Techne," 2019
San Francisco Arts Commission, San Francisco International Airport Harvey Milk Terminal 1
Liz Glynn, Platonic Solid Set V: Hexahedron (Inferno), Dodecahedron (Zero), Fistful (Rebirth)
Liz Glynn
"Platonic Solid Set V: Hexahedron (Inferno), Dodecahedron (Zero), Fistful (Rebirth)"
Liz Glynn, "The Archaeology of Another Possible Future," Installation View, MASS MoCA, North Adams, MA, 2017, Photo credit: David Dashiell
Liz Glynn
"The Archaeology of Another Possible Future," Installation View, MASS MoCA, North Adams, MA, 2017
Liz Glynn, "The Archaeology of Another Possible Future," Installation View, MASS MoCA, North Adams, MA, 2017, Photo credit: Steven Probert
Liz Glynn
"The Archaeology of Another Possible Future," Installation View, MASS MoCA, North Adams, MA, 2017
Liz Glynn, "Open House," Installation detail, Presented by the Public Art Fund at Doris C. Freeman Plaza, Central Park South, New York, NY, 2017, Photo credit: Steven Probert
Liz Glynn
"Post-Industrial Vacationland (after Aldous Huxley)," 2017 Installation view
MASS MoCA, North Adams, MA
Liz Glynn, "Open House," Installation view, Presented by the Public Art Fund at Doris C. Freeman Plaza, Central Park South, New York, NY, 2016, Cast concrete, 26 objects, Photo credit: James Ewing
Liz Glynn
"Open House," Installation view, Public Art Fund, Doris C. Freeman Plaza, Central Park South, New York, NY, 2016
Liz Glynn, "Open House," Public Art Fund, Doris C. Freedman Plaza, New York, NY, 2016, Cast concrete, 26 objects, Photo credit: James Ewing
Liz Glynn
"Open House," Public Art Fund, Doris C. Freedman Plaza, New York, NY, 2016
Liz Glynn, Emotional Architecture, Gestural Fragment XI
Liz Glynn
"Emotional Architecture: Gestural Fragment XI"
Liz Glynn, "Myth of Singularity," Installation view, Paula Cooper Gallery, New York, NY, 2017, Photo credit: Stephen Probert
Liz Glynn
"Myth of Singularity"
Liz Glynn, "Untitled (after Balzac, with Burgher)," Installation view, Petit Palais, 2014, Cast bronze, 71 x 46 x 23 inches, Photo credit: Robert Glowacki
Liz Glynn
"Untitled (after Balzac, with Burgher)," Installation view, Petit Palais, 2014
Liz Glynn, "Untitled (after Shade)," Installation view, Los Angeles County Museum of Art, Los Angeles, CA, 2014, Cast bronze, 32 x 33.75 x 83 inches, Photo credit: Fredrik Nilsen
Liz Glynn
"Untitled (after Shade)," Installation view, Los Angeles County Museum of Art, Los Angeles, CA, 2014
Liz Glynn, "After Thinker," detail
Liz Glynn
"Untitled (after Thinker)," Detail view
Liz Glynn, "RANSOM ROOM (Stage II: Accumulation)," Installation view, SculptureCenter, 2014, 17 x 22 x 10 feet, Photo credit: Jason Mandella
Liz Glynn
"RANSOM ROOM (Stage II: Accumulation)," Installation view, SculptureCenter, 2014
Liz Glynn, "Anonymous Needs and Desires (Giza/Gaza)," Installation view, Hammer Museum, Los Angeles, CA, 2012
Liz Glynn
"Anonymous Needs and Desires (Giza/Gaza)," Installation view, Hammer Museum, Los Angeles, CA, 2012
Liz Glynn, Vessel (Ravaged, Looted, & Burned), 2013, Hardwood (Ash and Western Red Cedar) with bronze and steel hardware, rope, 86 x 246 x 73 inches, Photo credit: Stephen Probert
Liz Glynn
"Vessel (Ravaged, Looted, & Burned)," 2013
Liz Glynn, California Surrogates for the Getty, 2008, California yard waste, trash, plaster, Victory wax, 72 x 132 x 48 inches
Liz Glynn
"California Surrogates for the Getty," 2008

Exhibitions

1981
Born in Boston, MA
Lives and works in Los Angeles
2008
MFA, California Institute of the Arts, Los Angeles, CA
2003
BA, Harvard College, Visual and Environmental Studies, Cambridge, MA

Selected Solo Exhibitions

2023
"The Futility of Conquest," Vielmetter Los Angeles, Los Angeles, CA
2019
"Emotional Capital," Vielmetter Los Angeles, Los Angeles, CA
"Terra Techne," San Francisco International Airport Terminal 1, San Francisco Arts Commission, San Francisco, CA
“Technological Toolboxes,” Paula Cooper Gallery, New York, NY
2018
"The Fear Index," LIVE, Frieze, London, UK
"Open House," Now+There, Boston, MA
2017
"The Archaeology of Another Possible Future," MASS MoCA, North Adams, MA
"Open House," Doris C. Freedman Plaza, The Public Art Fund, New York, NY
"The Myth of Singularity," Paula Cooper Gallery, New York, NY
2015
"The Myth of Singularity," Los Angeles County Museum of Art, Los Angeles, CA
"PATHOS (Exercise Series)," Paula Cooper Gallery, New York, NY
2014
"RANSOM ROOM," SculptureCenter, Long Island City, NY
"HOLD NOTHING," ArtPACE, San Antonio, TX
"On the Possibility of Salvage," Paula Cooper Gallery, New York, NY
2013
"VAULT," Frieze Projects, Frieze Art Fair, Randall’s Island, NY
"[de]-lusions of Grandeur," Los Angeles County Museum of Art, Los Angeles, CA
2012
"HOARD," Redling Fine Art, Los Angeles, CA
"gold after gold," Redling Fine Art, Los Angeles, CA
"black box," as part of the J. Paul Getty Museum’s Pacific Standard Time Performance Art and Public Art Festival, produced by Glenn Phillips & Lauri Firstenberg, Los Angeles, CA
"No Second Troy," Pitzer College Art Galleries, Claremont, CA
"Spirit Resurrection," Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA
2011
"Loving You is Like _ _ _ _ _ _ _ the Dead," MOCA, Los Angeles, CA
"Alexandria and Other Losses," Works Sited, Los Angeles Public Library, Los Angeles, CA
2010
"III," produced by Redling Fine Art, Los Angeles, CA
"Out of the Forest & Into the Light," Machine Project & the L.A. Opera Ring Cycle Festival, Los Angeles, CA
"California Surrogates for the Getty," Anthony Greaney, Boston, MA
2009
"The 24-Hour Roman Reconstruction Project," Arthouse at the Jones Center, Austin, TX
"65 | 77 | 03 | -," workspace, Los Angeles, CA
"All that is solid," Anthony Greaney, Boston, MA
2008
"The 24-Hour Roman Reconstruction Project," Machine Project, Los Angeles, CA

Selected Group Exhibitions

2023
"Ecstatic: Selections from the Hammer Contemporary Collection," Hammer Museum, Los Angeles, CA
"Gilded: Contemporary Artists Explore Value and Worth," Weatherspoon Art Museum in Greensboro, NC
2022
"Gilded: Contemporary Artists Explore Value and Worth," Hood Museum of Art, Hanover, NH
“Contemporary Antiquity,” Paula Cooper Gallery, Palm Beach
"Working Thought," The Carnegie Museum of Art, Pittsburgh, Pennsylvania
“STAND: The Watermill Center Annual Summer Benefit, Water Mill, NY
“Strange”, Centro Andaluz the Arte Contemporanea, Seville, Spain
“Stitched,” Paula Cooper Gallery, New York, NY
“No Forms”, curated by Margot Norton, Hill Art Foundation, New York, NY
"51 @ 51," Rennie Museum, Vancouver, Canada
2021
“Tides of the Century,” Ocean Flower Island Museum, Danzhou, Hainin, China
“Carte Blanche: A Changing Exhibition,” Paula Cooper Gallery, Palm Beach, FL
2020
"20 Years," Vielmetter Los Angeles, Los Angeles, CA
2019
"Tabula Rasa: The Watermill’s 26th Annual Summer Benefit & Auction," The Watermill Center, Water Mill, NY
"Todo en ti fue naufragio," curated by Jared Baxter, Angel’s Gate Cultural Center, San Pedro, CA
"Non-Vicious Circle," Paula Cooper Gallery, New York, NY
"Sculpture," Vielmetter Los Angeles, Los Angeles, CA
"Unearthed Underground" in "Fiction," Bold Tendencies, London, UK (Link)
"Céleste Boursier-Mougenot, Liz Glynn, Robert Grosvenor, Justin Matherly, Paul Pfeiffer," Paula Cooper, New York, NY
"The American Scene," National Museum of Ceramics, Sevres, France
"Pfeiffer," Paula Cooper Gallery, NY
2018
"Objects Like Us," The Aldrich Contemporary Art Museum, Ridgefield, CT (Link)
"Picture Industry," Mecanique Generale, Parc des Ateliers, LUMA Arles, Arles, France (Link)
“2018 Sculpture Milwaukee,” Milwaukee, WI (Link)
"Statues Also Die," Fondazione Sandretto Re Rebaudengo and the Egyptian Museum, Turin, Italy (Link)
"Manifesto: A Moderate Proposal," Pitzer College Art Galleries, Claremont, CA (Link)
2017
"Like a Moth to a Flame," Fondation Sandretto Re Rebaudengo, Turin, Italy
"Rodin and the Contemporary Figurative Tradition," Frederik Meijer Gardens & Sculpture Park, Grand Rapids, MI
"Picture Industry," Hessel Museum of Art at the Center for Curatorial Studies, Bard College, Annandale-On-Hudson, NY
"The Gates of Hell," The Institute for New Feeling with Arturo Bandini, Ballroom Marfa
2016
"Systematically Open: New Forms for Contemporary Image Production," Luma Foundation, Arles, France
"In Place of," Miguel Abreu, New York, NY
"Sim City," Arturo Bandini at Ballroom Marfa, Marfa, TX
"All Right," Redling Fine Art, Los Angeles, CA
2015
"Station to Station," Barbican Centre, London, UK
"Two/Each," Barbara Krakow Gallery, Boston, MA
"Bloody Red Sun of Fantastic L.A.," PIASA, Paris, France
"Alchemy," D.C. Moore Gallery, Washington D.C.
"Dissolving Margins," Paula Cooper Gallery, New York, NY
2014
"ArtPublic," curated by Nicholas Baume, Art Basel Miami Beach, Miami FL
"A Machinery for Living," Petzel Gallery, New York, NY
"Biennial de Paiz, Concepcion 41," curated by José Luis Blondet, La Antigua, Guatemala
"I Take Part and the Part Takes Me," Galerie Tanja Wagner, Berlin, Germany
2013
"Jonathan Borofsky, Sam Durant, Charles Gaines, Liz Glynn, Wayne Gonzales, Hans Haacke, Walid Raad, Carey Young," Paula Cooper Gallery, New York, NY
"Station to Station," a traveling performance festival organized by Doug Aiken
"The only performances that make it all the way," Kunstlerhaus Halle fur Kunst & Medien, Graz, Austria
"Renaissance Resistance. Resistance Renaissance," Villa Romana, Florence, Italy Neo Povera, L&M Arts, Los Angeles, CA
"Works Sited," reprised, Cleopatra’s, New York, NY
"Set Pieces," Cardi Black Box, Milan, Italy
"Between This, That and the Other Thing," Harris Lieberman, New York, NY
2012
"Lost Line: Contemporary Art from the Collection," Los Angeles County Museum of Art, Los Angeles, CA
"Cleopatra’s Family Jewels," Cleopatra’s at Family Business, New York, NY
"Eight Sculptors," Paula Cooper Gallery, New York, NY
"Nothing is forgotten, some things considered," UKS, Oslo, Norway
"A set of performative dinners with Liz Glynn," The Academy / The Chthonic at Eleusis by Scott Benzel, Public Fiction, Los Angeles, CA
"Made in L.A. 2012," The Hammer Museum, in collaboration with LAXART, Los Angeles, CA
"Invisible Cities," MASS MoCA, North Adams, MA
2011
"Second Story | new editions, Pepin Moore, Los Angeles, CA
"Temporary Structures: Performing Architecture in Contemporary Art," deCordova Sculpture Park and Museum, Lincoln, MA
"Utopia or Oblivion," Performa 11, curated by RoseLee Goldberg, New York, NY
"Benefit For The Student Mobilization Committee To End The War in Vietnam," Redling Fine Art, Los Angeles, CA
"On Forgery: Is One Thing Better Than Another?," curated by Andrew Berardini and Lesley Moon, LA><ART, Los Angeles, CA
"No Swan So Fine," curated by Joanna Fiduccia, Michael Benevento, Los Angeles, CA
"Greater LA," organized by Eleanor Cayre, Benjamin Godsill, and Joel Mesler, New York, NY
"7 Sculptors," Brennan & Griffin, New York, NY
"Sculpture," Paula Cooper Gallery, New York, NY
"Object Lessons," Carpenter Center for the Visual Arts, Cambridge, MA
"The shortest distance between 2 points is often intolerable," Brand New Gallery, Milan, Italy
"Collective Show," with the Public School, Human Resources, Los Angeles, CA
"Verse | Chorus | Verse," Art Los Angeles Contemporary Special Projects, Los Angeles, CA
"Embarrassment / Theory," Gallery KM, Santa Monica, CA
2010
"Let Them Eat LACMA," Los Angeles County Museum of Art, Los Angeles, CA
"The Big Four," Steve Turner Contemporary, Los Angeles, CA
"The Elysian Park Museum of Art," LACE, Los Angeles, CA
"Projects and Assignments," curated by Andrew Berardini, Saprophyt, Vienna, Austria
"Phenomenal: Selections from the Manuel de Santaren Collection," Young Projects, LA
"Perform Now!," collaboration with Corey Fogel, Human Resources, Los Angeles, CA
"Bizarre Animals," curated by Carlin Wing, Harvard Museum of Natural History, Cambridge, MA
2009
"The Generational: Younger than Jesus," curated by Lauren Cornell, Massimo Gioni, and Laura Hauptman, The New Museum, New York, NY
"Bellwether, "Southern Exposure, San Francisco, CA
"Perform Now!," Chung King Project, Los Angeles, CA
"Untitled," (with Nate Page) Bolsky Gallery, Otis College of Art & Design, Los Angeles, CA
"Performing Economies," Fellows of Contemporary Art, Los Angeles, CA
"Paradise," (with Mariechen Danz), 7th and Fig Art Space, Los Angeles, CA
"Material Histories," O’Artoteca, Milan, Italy
2008
"A Machine Project Guide to LACMA," Los Angeles County Museum of Art, Los Angeles, CA
"Late Night Snack," REDCAT Lounge, Los Angeles, CA "Exchange Rate 2008," Sea and Space, Los Angeles, CA
"Old Los Angeles Zoo," SLAB / Art 2102, Los Angeles, CA
"GLAMFA," CSU Long Beach, Long Beach, CA
"We Want a New Object," curated by Malik Gaines and Christine Y. Kim, Acuna- Hansen Gallery, Los Angeles, CA

Residencies

2021
MAP Fund, New York, NY
2018
Delfina Foundation, Performance as Process Residency, London, UK
2017
Rauschenberg Foundation Residence, Captiva, FL
2016
Creative Capital Emerging Fields Grant
Pollock-Krasner Foundation Grant
Orange County Collector’s Committee Grant
2015
Harpo Foundation, Individual Artist Grant
Kakehashi Project, Japan Foundation, Tokyo, Japan
2014
International Artist-in-Residence, Artpace, San Antonio, TX
2012
Center for Cultural Innovation, Investing in Artist Grant for Artistic Innovation
2010
California Community Foundation, Emerging Artist Fellowship Artist Researcher, Los Angeles Goes Live, L.A.C.E., Los Angeles, CA
2009
O'artoteca, Milan, Italy
2007
Atlantic Center for the Arts, New Smyrna Beach, FL
Joan Mitchell Foundation Associate Artist fellowship
2006
Vermont Studio Center, Johnson, VT
2004
Alfred Alcalay Prize

Group Exhibition Catalogues and Books

2021
Stamey, Emily. "Gilded: Contemporary Artists Explore Value and Worth," Exhibition Catalogue. Weatherspoon Art Museum, UNC Greensboro, NC, 2022. (Link)
2018
“The Domestic Plane: New Perspectives on Tabletop Art Objects”. Gregory R. Miller & Co. with The Aldrich Contemporary Art Museum, 2018.
Droschl, Sandro. “The Only Performances that Make it All the Way…Yes, But is it Performable?” Berlin: Sternberg Press, 2018.
Knode, Marilu. “Sculpture Milwaukee 2018” Exhibition Catalogue. Milwaukee: Sculpture Milwaukee, 2018.
Beshy, Walead. “Picture Industry: A Provisional History of the Technical Image 1844-2018. Arles: Luma and Center for Curatorial Studies, Bard College, 2018.
2017
Stepken, Angelika, Eva-Maria Troelenberg, and Mariechen Danz, eds. “Unmapping the Renaissance”, p. 196-207. Vienna: Verlag für moderne Kunst, 2017.
2016
Katrib, Ruba, and Mary Ceruti. “How Does It Feel?” Vol. 3 of “Inquiries into Contemporary Sculpture”, p. 45-48. New York: SculptureCenter and London: Black Dog Publishing, 2016.
2015
Aitken, Doug, and Dean Kuipers. “Station to Station”. Ed. Elizabeth Karp-Evans, 208-9. New York: DelMonico Books—Prestel.
“The Benefit of Friends Collected, Vol. 2”, p. 42-45. Los Angeles: Project X Foundation for Art & Criticism.
2012
Siegel, Lily, and Museum of Contemporary Art. “Engagement Party: Social Practice at Moca, 2008-2012”, p. 187-202. Los Angeles: Museum of Contemporary Art.
Firstenberg, Lauri. “Made in L.A. 2012”, p. 48, 71-74. Los Angeles: Prestel with The Hammer Museum, LAXART, and Barnsdall Municipal Gallery.
2011
Deitsch, Dina, Giuliana Bruno, and Neal Leach. “Temporary Structures: Performing Architecture in Contemporary Art”, p. 72-76. Lincoln, MA: deCordova Sculpture Park and Museum.
Berardini, Andrew. “The Shortest Distance Between Two Points is Often Intolerable”, p. 30-33. Milan: Brand New Gallery.
2009
“Bellwether”, p. 20-23. San Francisco: Southern Exposure.
Cornell, Lauren, Laura Hoptman and Massimiliano Giono, eds. “Younger than Jesus Artist Directory: The Essential Handbook to a New Generation of Artists”, 189. London: Phaidon; and New York: The New Museum.
Cornell, Lauren. “Younger than Jesus: The Generation Book”. New York: New Museum and Steidl.
Allen, Mark, Jason Brown and Liz Glynn, eds. “Machine Project: A Field Guide to the Los Angeles Museum of Art”. 18-21, 43-46, 64-66, 150-54. Los Angeles: Machine Project.
2008
Mann, Elana. “Exchange Rate 2008”. Los Angeles: Elana Mann.
Weissman, Benjamin, ed. “ULTRA: 19”. Valencia, CA: Calarts.
2019
Cross, Susan, José Luis Blondet, Connie Butler, Travis Diehl, Carlin Wing, and Liz Glynn. “Liz Glynn: Objects and Actions”. New York: DelMonico Books—Prestel with MASS MoCA.
2018
“The Domestic Plane: New Perspectives on Tabletop Art Objects”. Gregory R. Miller & Co. with The Aldrich Contemporary Art Museum.
Droschl, Sandro. “The Only Performances that Make it All the Way…Yes, But is it Performable?” Berlin: Sternberg Press.
Knode, Marilu. “Sculpture Milwaukee 2018” Exhibition Catalogue. Milwaukee: Sculpture Milwaukee.
Sandro Droschl, "The only performances that make it all the way ... Yes, but is it performable?" Sternberg Press, Berlin. (Link)
Beshy, Walead. “Picture Industry: A Provisional History of the Technical Image 1844-2018. Arles: Luma and Center for Curatorial Studies, Bard College.
2017
Stepken, Angelika, Eva-Maria Troelenberg, and Mariechen Danz, eds. “Unmapping the Renaissance”, p. 196-207. Vienna: Verlag für moderne Kunst,
2016
Katrib, Ruba, and Mary Ceruti. “How Does It Feel?” Vol. 3 of “Inquiries into Contemporary Sculpture”, p. 45-48. New York: SculptureCenter and London: Black Dog Publishing.
2012
Lawson, Thomas, Ciara Ennis, and Mark Allen. “Liz Glynn: No Second Troy.” Claremont, CA: Pitzer Art Galleries.

Bibliography

2020
Martinez, Christina Catherine. "Liz Glynn," Artforum, March (Link)
Aguirre, Abby. "Inside the Los Feliz Home of Frieze’s Bettina Korek," W, January 29 (Link)
Singh, Gary. "Feeling the Force," SF Arts Monthly, January (Link)
2019
Hotchkiss, Sarah. “SFO’s Harvey Milk Terminal 1 to Open With New Public Art”, KQED Arts, 26 June
Kane, Ashleigh. “Art shows to leave the house for this month”, Dazed, 20 June
Mcgivern, Hannah, José da Silva, and Kabir Jhala. “Three exhibitions to see in London this weekend”, The Art Newspaper, 31 May
Buck, Louisa. “Peckham’s Pride: Bold Tendencies opens new season with a snaking sewage system and growling cars”, The Art Newspaper, 31 May
Cascone, Sarah. “Editor’s Picks: 19 Things Not to Miss in New York’s Art World This Week”, Artnet News, 22 July
Howard, Jack. “Park up at Bold Tendencies”, Vanity Fair / VF London (online), 25 July,
Mairs, Jessica. "Unearthed Underground: is there still space for subculture?," Domus, August 8 (Link)
"Rosetta Getty on the Female Artists who Inspire her," Vanity Fair, May 24 (Link)
"Group exhibition at Paula Cooper Gallery, New York," Blouin Art Info, April 9 (Link)
Culp, Samantha. "Artistic Capital: In Liz Glynn’s massive installations, big questions about the meaning of value," Harvard Magazine, January/February (Link)
2018
"Frieze London Opens This Friday," ArtForum (web), October 3 (Link)
Baradel, Lacey, "Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas," CAA Reviews, September 21 (Link)
"Diana Campbell Betancourt Introduces Live 2018," Frieze, September 21 (Link)
Brown, Mark, "Frieze London art fair returns with gossiping opera singer," The Guardian (web), September 20 (Link)
Iredale, Jessica, "Rosetta Getty RTW Spring 2019," WWD, September 10 (Link)
"New York Fashion Week Women’s S/S 2019 Editor’s Picks," Wallpaper, September 11 (Link)
Marcisz, Christopher, "Liz Glynn’s Comforting Vision of a Dystopian Future," Hyperallergic, August 28 (Link)
Marcisz, Christopher, "Liz Glynn’s Comforting Vision of a Dystopian Future," Hyperallergic (web), August 27 (Link)
Anderson, Lindsey, "Catch a Free Sculpture Milwaukee Talk at the Pfister Tonight," Milwaukee Magazine (web), August 22 (Link)
Harrington, Leah Triplett, "Redefining Common Space," Now + There blog, August 6 (Link)
"Sculpture Milwaukee attracts visitors with tours, lectures and summer fun," Urban Milwaukee, July 18 (Link)
Hagman, Sarah, "Sitting Pretty," The Improper Bostonian (web), August 3 (Link)
McGowan, Amanda, "Get A Taste Of Gilded Age Living With A New Public Art Exhibit In Boston," WGBH, August 3 (Link)
Katz, Marni Elyse, "Beautiful Ruins," The Boston Globe (web), August 2 (Link)
Cook, Greg, "Recreating A Gilded Age Ballroom Outdoors In Boston To Mull Our Economic Future," Wonderland (web), July 30 (Link)
Ambrose, Graham, "A new public art installation puts the ruins of a Gilded Age ballroom by Kenmore Square," The Boston Globe (web), July 27 (Link)
Gerst, Ellen, "New Public Art Brings an Opulent Ballroom to the Comm. Ave. Mall," Boston Magazine (web), July 26 (Link)
Garcia, Maria, "Art Installation In Kenmore Square Transforms An Opulent Ballroom Into A Ruin," wbur, July 26 (Link)
Tang, Angela. “MASS MoCA’s ‘Archaeology’ Excavates Temporal Questions”, The Williams Record, February 7 (Link)
“Pallets as Social Commentary”, DC Velocity, February 16 (Link)
Prashad, Vijay. “Radical Journeys: Memories of the War on Jobs and the War on Terror”, NewsClick, February 23 (Link)
Schlebusch, Preston. “Where Culture Meets Nature, Will Bidding Wars Follow?”, The New York Times, 13 April, (Link)
Settle, Kristin, “Sculpture Milwaukee returns June 1 to Wisconsin Avenue, Globe News Wire (web), June 1 (Link)
Kane, Tim, “Artist at MASS MoCA explores implication of production,” Times Union (web), March 28 (Link)
Wood, Ann, "Liz Glynn makes art a game of thrones," Wicked Local (web), February 23 (Link)
McQuaid, Cate. “At MASS MoCA, a dark look at a possible future”, The Boston Globe, 14 January (Link)
Cheng, Scarlet. “Liz Glynn at MASS MoCA”, Artillery, 2 January
2017
Carrigan, Margaret. “Liz Glynn Questions the Direction of American Progress at Mass MoCA”, Observer, 11 December, 2017. (online) (Link)
Jones, Gillian. “Liz Glynn at Mass MoCA: A space filled with questions, but no answers”, The Berkshire Eagle, 3 November, 2017.
Kitnick, Alex. “Liz Glynn”, Artforum, October (Link)
Seven, John. “Tools of Progress, Past and Future”, Hill Country Observer, October 2017.
Farago, Jason. “An Interview with Liz Glynn”, Even Magazine (Issue 8), September, 2017.
Knopf, Brinley. “Public Art Fund: Liz Glynn”, Spindle Magazine, 15 August, 2017. (online)
Farago, Jason. “Across New York, a Summertime Tour of Public Art”, New York Times, 29 June 2017. (Link)
Green, Tyler. Episode No. 283, The Modern Art Notes Podcast. April 2017. (online)
Homes, A.M., “In Portrait: Liz Glynn, the Artist Who Turned Central Park into an Open-Air Ballroom”, Vanity Fair, March (Link)
Luckel, Madeleine. “Gilded Age Furniture Is Now Decorating New York’s Central Park”, Vogue, March 1
Slenske, Michael. “Central Park Is Now Home to a Must-See Public Art Installation”, Architectural Digest, February 15
Handley, Lucy. “From Ai Weiwei's Dog to Indian wall painting: great public art – in pictures”, The Guardian, March 31 (Link)
Wachs, Audrey. “Liz Glynn turns a corner of Central Park South into a Gilded Age living room for all”, The Architects Newspaper, 28 February 2017.
Helmke, Juliet. “Liz Glynn on her Public Art Fund Commission Opening in Doris C. Freedman Plaza this Spring”, Blouin ArtInfo, 9 February 2017. (online)
“Liz Glynn at Paula Cooper Gallery, New York”, ArtNews, 30 January 2017. (online)
Smith, William S. “Liz Glynn”, Art in America, 12 January
2016
Munro, Cait. "Meet Creative Capital’s 63 Award-Winning Artists, Writers, and Performers," artnet, January 12 (Link)
Small, Rachel. “10 Picks From Independent New York 2016,” Interview Magazine, March 4 (Link)
Harris, Gareth. “Liz Glynn brings turn-of-the-century grandeur to Central Park with her open-air ballroom.” The Art Newspaper. 26 December
Cascone, Sarah. “Public Art Fund’s Spring Show Will Turn Central Park Into a Gilded Age Ballroom.” Artnet News. 22 December
Chow, Andrew R., “Gilded Age Ballroom Installation Coming to Central Park”, New York Times, 21 December
Soleil, David. “Liz Glynn Receives Creative Capital Grant”, 24700 (blog.calarts.edu), 19 January (online)
“Creative Capital Announces 2016 Arts Awards Winners”, ArtForum, 12 January 2016. (online)
Miranda, Carolina A. “KCHUNG, Ann Carlson and Percival Everett among 6 in L.A. to win Creative Capital grants”, Los Angeles Times, 12 January 2016. (online)
Munro, Cait. “Meet Creative Capital’s 63 Award-Winning Artists, Writers, and Performers”, ArtNet, 12 January, 2016 (online)
2015
Mason, Brooke. “Sculpture Series: Liz Glynn pays Tribute to Rodin at LACMA,” Wallpaper, November 9, 2015. (online) (Link)
Wagley, Catherine. “Real Phonies: 5 Art Show You Should See in LA This Week.” LA Weekly, November 13, 2015.
Nathan, Emily. “artnet Asks: American Artist Liz Glynn,” Artnet, November 4, 2015. (online) (Link)
Roffino, Sara. “Make It Official,” Blouin Art+Auction, October 2015, p. 34; illus.
Saltz, Jerry. “See: Liz Glynn”, New York Magazine, September 23, 2015, p 139- 140
Steadman, Ryan. “Weekend Edition: 10 Things to Do in New Yorkʼs Art World
Halle, Howard. “Criticʼs Picks,” Time Out New York, September 30 – October 6, 2015, p. 52.
“Before September 13,” The New York Observer, September 10, 2015 (online)
Searle, Adrian. “Station to Station at the Barbican”, The Guardian, 29 June 2015. (online)
“Doug Aitken and Liz Glynn”, BBC Radio London, June 24, 2015
2014
Miller, M.H. "Liz Glynn and Dawn Kasper Debate the Theory of Everything," Art News, December 3 (Link)
"Liz Glynn: RANSOM ROOM," SculptureCenter, Long Island City, NY
Small, Rachel. “Liz Glynn’s Golden Touch.” Interview Magazine. 3 June 2014. (online) (Link)
Diehl, Travis. “Reviews: Liz Glynn”. ArtForum. April 2014. (online)
Fisch, Sarah. “ArtPace’s International Artists-in-Residence Geek Out.” San Antonio Current. 26 March, 2014
“Art”. The New Yorker. 3 February 2014. P 8
Kollak, Ginny. “Liz Glynn’s ‘On the Possibility of Salvage’”. Art Agenda. 29 January 2014. (online)
Miller, Michael. “The Siren Song of Liz Glynn: The Artist on Shipwrecks, Pirates, and Sending a Performer to Staten Island.” Gallerist NY. 21 January 2014. (online)
Yablonsky, Linda. “Winter Wonderland”. ArtForum. 15 January 2014. (online)
Linnert, Nicholas. “Critics’ Picks: Liz Glynn”. ArtForum. January 2014. (online)
2013
Cooper, Ashton. “Paula Cooper Now Reps L.A. Artist Liz Glynn”. Blouin Artinfo. 27 September 2013. (online)
Kuipers, Dean. “The Expanding Universe of Doug Aitken’s “Station to Station”. Huff Post. 20 September 2013. (Online)
Kooser, Amanda. “Station to Station: A nomadic ‘art happening’ for the tech Age. Crave—CNET. 20 September 2013. (Online)
Lewis, Jim. “Doug Aitken: The Station to Station Agent”. W Magazine. September 2013.
Riefe, Jordan. “Artist Liz Glynn Tells the Story of LA Calder Sculpture Through Ballet Mecanique.” Blouin Artinfo, 22 April 2013. (online)
Laughlin, Shepherd. “Cocktail Art.” LS:N Global, The lifestyle news network. 27 May 2013. (online)
Brown, Griselda Murray. “Art fairs get a piece of the action.” Financial Times. 13 May 2013.
Solway, Diane. “Cultural Calendar: 10th Frieze Frame.” W Magazine. May 2013. p 126
Trebay, Guy. “At Frieze, the Elite Browse and Forage.” The New York Times. 11 May 2013. p ST 8.
Farago, Jason. “Frieze New York turns two with a giant balloon dog and a VIP- free speakeasy.” The Guardian. 10 May 2013.
Sharpe, Emily. “Free Drink! If you’re lucky...”The Art Newspaper. 9 May 2013.
Allen, Emma. “The Artistic Life: Fair Play.” The New Yorker. May 2013. p 24-25
Ellis Fox, Emily. “What She Finds: Histories through objects.” Modern Painters. May 2013. P 66-68
Blondet, José Luis. “Liz Glynn: The Myth of Getting It Right the First Time.” Unframed: the LACMA blog. 16 April 2013. Web.
Lescaze, Zoë. “Buck the Trend: Artists Channel Buckminster Fuller.” Galleristny.com. 10 April 2013. Web.
Blondet, José Luis. “Casting Call: [de]-lusions of Grandeur, a Performance Project by Liz Glynn.” Unframed: the LACMA blog. 18 January 2013. Web.
2012
Mizota, Sharon. “Unfaithful Copies: Liz Glynn’s Ancient Artifacts.” KCET.org. 3 October 2012. Web.
Berardini, Andrew. "Hoards I Have Known." ArtSlant. ArtSlant, Inc., 18 Sept. 2012. Web.
Lawson, Thomas. “Artists at Work: Liz Glynn.” East of Borneo, 6 September Web.
Pincus-Roth, Zachary. “American Idol Meets the Museum : The Hammer’s Mohn Award is a grand experiment in art-world democracy.” LA Weekly, August 23
Baumgardner, Julie. “Q+A: Liz Glynn Discusses Her Sculptures for ‘Made in L.A.’” Surface Magazine Blog, August 8
Firstenberg, Lauri. “Made in L.A. 2012.” exhibition catalogue, 2012, The Hammer Museum, LAXART, and Barnsdall Municipal Gallery, Los Angeles, pages 48, 71-74.
Diehl, Travis. “Long Read: On the Intoxication of Ruin (The Party Ends).” ...might be good. Summer
Lawson, Thomas, Ciara Ennis, and Mark Allen. “Liz Glynn: No Second Troy.” Pitzer Art Galleries catalogue
Glynn, Liz. “Sculptors Discuss Sculpture.” Frieze. May, 2012 pages 204 – 213 (Link)
Taft, Catherine. “Liz Glynn: Pitzer Art Galleries.” Artforum, April, 2012 pages 220 – 221
Shaw, Michael. “Liz Glynn.” ArtScene. February, 2012 Vol. 31, No. 6 pages 11 – 12
Berardini, Andrew. “The Rise and Fall of Liz Glynn.” Mousse Magazine, December 2011 – January 2012, pages 148 – 154
2011
Baum, Gary, et al. “Arts & Power : On the Make.” Angeleno, December, 2011 page 73
Wagley, Catherine. “Occupy L.A. and the Art World : A wave of art projects go hand in hand with the protest” LA Weekly, November 24
Cashdan, Marina. “Domebound.” New York Times Design Blog, October 24
Sallabedra, Maria. “Liz Glynn’s Like A Patient Etherized Upon A Table (MOCA Goes Dark) Asked Visitors to Wander the Museum Blindfolded” LA Weekly Blog, November 4
Glynn, Liz. "Art in L.A." Artforum, October 2011, page 267
Myers, Holly. "Artist Liz Glynn Digs Through Rubble of History, Modern Times" Los Angeles Times, August 14
Fogel, Corey and Liz Glynn. "III" Public Fiction Quarterly. Summer 2011
Glynn, Liz. "Inverted Obelisk" from the Artist Project Series "A Monument to Forgetting" Cabinet, Summer 2011
Neel, Tucker. “The Big Four.” X-tra Magazine, Summer 2011, pages 65 – 71
Wolf, Kate. “Art Los Angeles Contemporary: The Fair In Three Parts” artnet Magazine
Allen, Stacey. “Ode to an Ambitious Weekend.” East of Borneo, January 27
Ireland, Corydon. “The Master’s Chair.” Harvard Gazette, February 2
2010
Mizota, Sharon. “ ‘Big Four’ with a singular purpose” Los Angeles Times, December 3
Rutzmoser, Jon. “Basement Wagner: A Brief History of the Bayreuther Festspiele” X-tra Magazine, Winter 2010/Volume 13 Number 2
2009
Mayer, Anna. “Letter from Los Angeles.” Proximity Magazine, Winter 2009
Faires, Robert. “Arthouse: It Takes a Village to Raise a City.” The Austin Chronicle, October 2
Faires, Robert. “The 24 Hour Roman Reconstruction Project was too built in a Day.” The Austin Chronicle, September 25
Berardini, Andrew. “The Rise and Fall of Liz Glynn” Anthony Greaney Gallery
Wehr, Anne. “The Generational: Younger than Jesus.” Frieze, June / August 2009
Cotter, Holland. “Young Artists, Caught in the Act.” The New York Times, April 9 (Link)
Saltz, Jerry. “’Jesus’ Saves: God Bless the New Museum’s New Triennial” New York Magazine, April 9
Higgins, Chester. “Building Rome in (Just Over) a Day” New York Times ArtsBeat Blog
Hung, Jochen, Junger Als Jesus, Die Zeit, April 29
Vogel, Carol. “Inside Art – A Plan to Reconstruct Rome.” New York Times, March 27
The Younger than Jesus Artist Directory, The New Museum, NYC
Mann, Elana, “Exchange Rate 2008”, in Day to Day by Carolina Caycedo “Container of Experiences.” Domus, March 2009
A Machine Project Field Guide to LACMA, LACMA, Los Angeles
2008
Finkel, Jori. “Arty Subversives Storm the Museum.” The New York Times, November 28
Hill, Jason. “The Image of the City: Notes on Mark Bradford's Help Us and Liz Glynn's 24 Hour Roman Reconstruction Project.” Art Lies, Summer 2008, pages 28-31.
Ting Lipton, Shana. “Student Art Show Takes a Field Trip to Chinatown.” Los Angeles Times, May 29
Friedrich, Kristin. “The Don't Miss List.” Los Angeles Downtown News, May 26
Weissman, Benjamin, editor, ULTRA, CalArts MFA Catalog Project
Farnbee, Mindy. “The 24 Hour Roman Reconstruction Project: You, the Empire Builder,” Los Angeles Times, January 17

Catalogues and Publications

2019
Cross, Susan, José Luis Blondet, Connie Butler, Travis Diehl, Carlin Wing, and Liz Glynn. “Liz Glynn: Objects and Actions”. New York: DelMonico Books—Prestel with MASS MoCA, 2019.
2015
“Pathos (The Blind Exercises).” New York: Paula Cooper Gallery, 2015.
2012
Lawson, Thomas, Ciara Ennis, and Mark Allen. “Liz Glynn: No Second Troy.” Claremont, CA: Pitzer Art Galleries, 2012.

Guest Lectures

2019
SUNY Purchase, Purchase, NY
Keynote speaker, Toward (in)Visibility: Space, Temporality, and Voice. UCSD 12th Annual graduate Symposium, UCSD, San Diego, CA
Pacific Northwest College of Art, Portland, OR
2018
"A Public Conversation: Public Art, Civic Space, and Activism." Boston Public Library, Boston, MA
"Museum of Capitalism – Community Conversation: Housing in Boston." School of the Museum of Fine Arts at Tufts University, Boston, MA
"Liz Glynn: Monuments, Mythologies, and Other Things that Fall Apart." Boston University, Boston, MA
"Liz Glynn—In Conversation: Sculpture Milwaukee Artists." Milwaukee Art Museum, Milwaukee, WI
"The Afterlife of Sculptures: Posthumous Casts in Scholarship, the Market, and the Law." Conference hosted by The Catalogue Raisonné Scholars Association, The Dedalus Foundation, New York, NY
Williams College, Williamstown, MA
Fine Art Work Center, Provincetown, MA
2017
California State University at Long Beach, CA
"Liz Glynn in Conversation with Jason Farago," NeueHouse Hollywood, CA
University of California, Riverside, CA
Public Art Fund Talks at The New School, New York, NY
2016
"The Idea of Time." Museum of Contemporary Art, Los Angeles, CA
"Gut-Rehab: Artists Addressing the Built Frontier," A Creative Capital Creative Conversation. San Francisco Art Institute, San Francisco, CA
2014
Panel: Fieldwork, with Nicholas Baume. Art Basel Miami Beach, Miami, FL
360 Speaker Series, Nasher Sculpture Center, Dallas, TX
Texas State University, San Marcos, TX
2013
Symposium: The Artist in Public Life: A Symposium on Public Practices. San Francisco Art Institute, San Francisco, CA
2012
Design Dialogues: Social Club: Participation, Occupation, and Communication. Art Center College, Pasadena, CA
OTIS College of Art and Design, Los Angeles, CA
California Institute of the Arts, Valencia, CA
Chapman University, Orange, CA
2011
Carpenter Center for Visual Arts, Cambridge, MA

Public Collections

Hammer Museum, Los Angeles, CA
Foundation Sandretto Re Rebaudengo, Turin, Italy
Getty Research Institute, Los Angeles, CA
Los Angeles County Museum of Art, Los Angeles, CA