Liz Glynn

  • Spirit Resurrection
  • Throughout January 2012
  • For participant-initiated performances visit

Public Spirit, rx which took place in May and October 1980, was the first performance art festival of such scope to be held in Los Angeles. Sponsored by Highland Art Agents, with the assistance of LACE, Vanguard Gallery, DTLA, American Hotel, Pasadena Film Forum, and Jett’s Café and Art Haus The festival was presented through the cooperation of the LA arts community without public funding.  Inspired by this collective effort, Liz Glynn’s project Spirit Resurrection invites the LA arts community to come together to re-stage, recreate and present contemporary performances based on Public Spirit’s historical performances throughout the month of January.

Throughout January 2012: Participant-initiated performances

Spirit Resurrection Pot Luck
Learn how to participate in Liz Glynn’s Spirit Resurrection. Starting in the fall, Spirit Resurrection will serve as an archive for historical documents from and about Public Spirit to give people access to this history and serve as an organizing tool and catalyst for the recreations of the original performances scheduled to occur throughout January 2012. More on

5 October 2011: 7-9PM, FREE


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Mike Kelly, The Parasite Lily, part of Public Spirit performance series. Courtesy of LACE archive.
Dorit Cypis, HiStory is Real, 1980. Courtesy of Dorit Cypis.
Public Spirit, 1980. Courtesy of LACE archive.


Liz Glynn’s practice is fundamentally interdisciplinary, drawing on the legacy of collaboration and experimentation from the Bauhaus and Black Mountain College to Fluxus and Allan Kaprow’s “Happenings.” Using historical narrative or iconic imagery as a structure, Glynn creates situations—not unlike Kaprow’s scores—and allows the meaning of the work to emerge through the interactions of the participants. In 65 | 77 | 03 | -, a two-night performance based on the New York City blackouts, participants shared a candle-lit Italian dinner while “locked in” for an evening emblematic of the Cold War neighborly spirit of 1965, followed by a night of intermittent looting of the restaurant set after the socio-economic upheaval of 1977. The event retained the falsity of a performance, yet constructed its own reality through shared experience. Glynn’s work has been shown in Los Angeles at the Los Angeles County Museum of Art, Machine Project, and REDCAT, and in New York at John Connelly Presents. She was also included in the 2009 group show, The Generational: Younger than Jesus (The New Museum, New York). Glynn received her MFA from California Institute of the Arts.