Liz Glynn: The Myth of Singularity

Various locations on campus
October 31, 2015–June 19, 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. Assisted by a group of ten sculptors, Glynn explored 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 eight bronze sculptures are on view in the Gerald B. Cantor Sculpture Garden Stairs; the Resnick Pavilion entrance; the Resnick Pavilion East Lawn, and the European Art Impressionism Gallery on the third floor of the Ahmanson Building.

This exhibition is included in General Admission. 
Join now and see it free, or reserve a ticket.

This exhibition was organized by the Los Angeles County Museum of Art.

All exhibitions at LACMA are underwritten by the LACMA Exhibition Fund. Major annual support is provided by Kitzia and Richard Goodman, with generous annual funding from Janet Chann and Michael Irwin in memory of George Chann, Louise and Brad Edgerton, Edgerton Foundation, Emily and Teddy Greenspan, Jenna and Jason Grosfeld, Lenore and Richard Wayne, and the Kenneth T. and Eileen L. Norris Foundation.

Liz Glynn, Untitled (after Balzac, with Burgher) (detail), 2014, courtesy of the artist, Paula Cooper Gallery, New York, and Redling Fine Art, Los Angeles, photo: Brica Wilcox

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