Liz Glynn

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

Cuts: A Traditional Sculpture is a durational performance resulting in an installation, sildenafil two-channel video, and zine. The work is structured as a dialogue with two seminal performance works, Eleanor Antin’s Carving: A Traditional Sculpture and Lynda Benglis’ 1974 Advertisement.

Rather than crash diet, over five months Heather Cassils built her body by taking male hormones, adhering to a strict bodybuilding regime and controlled diet. She documented her body as it changed, taking 4 photos a day, from 4 vantage points inspired by Antin’s photographic grid. She then collapsed 23 weeks of training into 23 seconds of time-lapsed video juxtaposed against highly stylized scenes which play in painful slow motion Cassils’ training process. Finally, with her body in its peak condition, she staged a photographic homage to Benglis, placing these two important works in dialogue with each other via her exaggerated physique.


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Training photos by Zackary Drucker.
Heather Cassils and Robin Black, Advertisment (Homage to Benglis), 2011.


Heather Cassils’ practice weds her experience as a stunt person and a body builder to the ethos of FLUXUS and guerrilla theater. Her solo physical performances are informed by a decade of working in the collective Toxic Titties, but are grounded in the exploration of the specific possibilities of the body, as both instrument and image. Cassils’ methods are multidisciplinary, combining performance, film, drawing, video, photography, and event planning. Cassils has exhibited at the Whitechapel and Thomas Danes in London; Manifesta, Schnitt Ausstellungsraum, and Edith Ruß Site for Media Art in Germany; the LGBT film festival in Paris, France; the Museum Moderner Kunst Stiftung Ludwig in Vienna, Austria; MUCA Roma and International Festival in Rome; Ex-Teresa Arte Actual in Mexico City; Art in General in New York; Art Basel Miami Beach; Yerba Buena Center for the Arts in San Francisco; and LACE and the USC Center for Feminist Research in Los Angeles.
Peep Totter Fly is a new interactive video installation and performance by Cheri Gaulke that revisits the artist’s 1970-80s critique of high heels. The installation will present gallery visitors with a wall of red high heels, for sale
available for wearing while viewing the rest of the exhibition. With sizes large enough for most men and women, this will give viewers an actual experiential challenge to their ideas about high heels. Centered on the wall is an evocative video that depicts high heels traversing natural environments, relating the objects present in the room to live and recorded performance. At the exhibition opening, a group of performers will activate the installation with a performance that ventures into the streets of Hollywood and back again.


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Cheri Gaulke. Broken Shoes, 1978, DTLA, part of Public Spirit performance series.
Gaulke dancing with skeleton puppet with bound feet courtesy of Cheri Gaulke, photographer Sheila Ruth.
Peep, Totter, Fly: Photos from performance at LACE 27 September 2011.

In 1975, Cheri Gaulke moved to Los Angeles to be involved with the Feminist Studio Workshop at the Woman’s Building. There she embraced the notion that feminist art could raise consciousness, invite dialogue, and transform culture. She worked primarily in performance art from 1974 to 1992, addressing themes such as religion, sexual identity, and the environment. Though Gaulke has moved away from performance, the feminist art strategies that she helped to innovate in the 1970s in Southern California continue in her work. Her art continues to be a vehicle for social commentary and a way to tell the stories of individuals and groups under-represented in society. She works in a variety of media, but mostly video, installation, artist’s books, and public art. Gaulke has an MA degree in Feminist Art/Education from Goddard College. She has presented her work at the Museum of Modern Art (NY), the Museum of Contemporary Art (LA), in a Smithsonian-touring exhibition, and in settings all over the world including buses, churches, and prehistoric temples.
Public Spirit, visit this
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.