• Born:

    • 1981

    • Boston, MA, USA. Lives and works in Los Angeles, CA.

  • Education:

    • 2008

    • MFA, California Institute of the Arts, Los Angeles, CA

    • 2003

    • BA, Harvard College, Visual and Environmental Studies, Cambridge, MA

  • Solo Exhibitions and Projects:

    • 2017

    • The Archaeology of Another Possible Future, MASS MoCA, North Adams, MA (on view now)

      Open House, The Public Art Fund, NYC

      The Myth of Singularity, Paula Cooper Gallery, NYC

    • 2015

    • The Myth of Singularity, LACMA, 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, 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, L.A.C.E., 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

  • Group Exhibitions:

    • 2018

    • Objects Like Us, The Aldrich Contemporary Art Museum, Ridgefield, CT (forthcoming)

      Manifesto: A Moderate Proposal, Pitzer College Art Galleries, Claremont, CA

    • 2017

    • Like a Moth to a Flame, curated by Tom Eccles, Mark Rappolt, and Liam Gillick. 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, Arturo Bandini, Los Angeles

    • 2016

    • Systematically Open: New Forms for Contemporary Image Production, Luma Foundation, Arles, France

      Sim City, Arturo Bandini at Ballroom Marfa, Marfa, TX

      In Place of, Miguel Abreu, NYC

      All Right, Redling Fine Art, Los Angeles

    • 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, 2012, 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, LAXART, 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

      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 and Awards:

    • 2018

    • Delfina Foundation Residency, London, England (Spring, 2018)

    • 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

    • 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

  • Public Collections:

    • The Hammer Museum, Los Angeles

      Foundation Sandretto Re Rebaudengo, Turin, Italy

      Getty Research Institute, Los Angeles

      Los Angeles County Museum of Art, Los Angeles

  • Press and Publications:

    • 2018

    • “Pallets as Social Commentary”, DC Velocity, 16 February, 2018

      Tang, Angela. “MASS MoCA’s ‘Archaeology’ Excavates Temporal Questions”, The Williams Record, 7 February, 2018.

      McQuaid, Cate. “At MASS MoCA, a dark look at a possible future”, The Boston Globe, 14 January 2018

      Cheng, Scarlet. “Liz Glynn at MASS MoCA”, Artillery, 2 January 2018

    • 2017

    • Carrigan, Margaret, “Liz Glynn Questions the Direction of American Progress at Mass MoCA”, Observer, 11 December, 2017. (online)

      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 2017.

      Seven, John. “Tools of Progress, Past and Future”, Hill Country Observer, October 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.

      Homes, A.M., “In Portrait: Liz Glynn, the Artist Who Turned Central Park into an Open-Air Ballroom”, Vanity Fair, March 2017.

      Luckel, Madeleine. “Gilded Age Furniture Is Now Decorating New York’s Central Park”, Vogue, 1 March 2017.

      Slenske, Michael. “Central Park Is Now Home to a Must-See Public Art Installation”, Architectural Digest, 15 February, 2017.

      Handley, Lucy. “From Ai Weiwei’s Dog to Indian wall painting: great public art – in pictures”, The Guardian, 31 March 2017.

      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 2017.

    • 2016

    • Harris, Gareth. “Liz Glynn brings turn-of-the-century grandeur to Central Park with her open-air ballroom.” The Art Newspaper. 26 December 2016.

      Cascone, Sarah. “Public Art Fund’s Spring Show Will Turn Central Park Into a Gilded Age Ballroom.” Artnet News. 22 December 2016.

      Chow, Andrew R., “Gilded Age Ballroom Installation Coming to Central Park”, New York Times, 21 December 2016.

      Soleil, David. “Liz Glynn Receives Creative Capital Grant”, 24700 (blog.calarts.edu), 19 January, 2016. (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)

      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)

      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

    • Small, Rachel. “Liz Glynn’s Golden Touch.” Interview Magazine. 3 June 2014. (online)

      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

      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

      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