Independent Curators International (ICI) supports the work of curators to help create stronger art communities through experimentation, collaboration, and international engagement. Curators are arts community leaders and organizers who champion artistic practice; build essential infrastructures and institutions; and generate public engagement with art. Our collaborative programs connect curators across generations, and across social, political and cultural borders. They form an international framework for sharing knowledge and resources — promoting cultural exchange, access to art, and public awareness for the curator’s role.
Gold-plated Bronze, Silver-plated Bronze, and Plated Bronze necklace
3 Editions of 9
$2,000 + shipping
Liz Glynn is a Boston-born artist currently working and living in Los Angeles. Her practice draws frequently on creation myths, classical antiquity and some distant past, as a way to exemplify humanity’s endurance through time — particularly honing in on our failures, which have forced us to change through a series of rises and falls. In The 24 Hour Roman Reconstruction (2008), for example, Glynn and a group of collaborators set out to construct the city of Rome, in one day of course, and using recycled materials, only to demolish it immediately afterwards, suggesting that even Rome’s “massive” history only occupies a relatively minute part of time. Glynn’s ongoing interest in creation, sudden catastrophes, and changes over time, was also very present in her recent lecture performance on the Big Bang presented as part of Doug Aitken’s nomadic project, Station to Station (2013), or her New York solo show at Paula Cooper Gallery – On the Possibility of Salvage (2014) – which featured a room-sized sculpture of a wrecked ship and a bounty of smaller reconstructions of smuggled and recovered objects of illicit cargo.
In her relationship to sculpture, Glynn is inspired by materials of all sorts, which also recount narratives of cyclical use, transformation, change and decay. Installations and sculptural object take form palettes, scraps, re-used materials, or papier mache; and her sculptures have a distinct uniqueness, through the uneven texture of their surface, or the changing edges of each of their editions. Often using fragile poured-wax molds, Glynn is able to make each edition work unique in some ways, as the mold tends to pull apart each time an edition is created, thus shaping the next one, and so on through an ongoing cycle of change. This can be seen in the three editions created by the artist for ICI, three series of pendants and necklaces, each with slightly unique shape, edges and fill. Like medals, the pendants are also produced in three different metal finishes – gold, silver, and bronze. In fact, they were inspired by the commemorative statues that the artist designed for the Leo and Agnes Gund Curatorial Awards bestowed upon Miuccia Prada and Germano Celant at ICI’s 2013 Annual Benefit & Auction.
Liz Glynn has an ongoing performances titled [de]-lusions of Grandeur taking place at the Los Angeles County Museum of Art, and will have a one-person exhibition at the Corcoran Gallery of Art in Washington DC in the fall of 2014. Her work has also been included in a number of important museum exhibitions: Hammer Museum’s “Made in LA” Biennial (2012), for which she was named a Mohn Award finalist; J. Paul Getty Museum’s Pacific Standard Time (2013); and the New Museum’s The Generational: Younger than Jesus (2009), curated by Lauren Cornell, Massimiliano Gioni, and Laura Hoptman.