The Ups & Downs

The Ups & Downs
65 | 77 | 03 | by Liz Glynn
Friday September 4 & Saturday September 5 from 7-10pm
a General Project at workspace

To attend the opening on September 4th, please RSVP to mathewtimmons[at]gmail[dot]com. Space is limited. Opening is FULL!!! No more RSVPs please, unless you've received a direct invitation to the opening!

The Ups & Downs is an installation series. The show goes up, the show goes down. Opening party on Friday night and closing party the next night, on Saturday. No time for exhibitions. Low impact, ephemeral and immersive art. People with lots of People. The market. It’s a party. Time for the underground. It’s a ball. It’s for The People. This has been made for you. You look familiar? The show must go on. Installed and De-installed. Up. Down. Now what? Now then…

artist’s statement:
One hundred seven stories high over Manhattan, a group of diners at the World Trade Center's skyscraping restaurant Windows on the World downed their digestifs, took a last glance at the stunning lightshow below, and crowded into a waiting down elevator. The doors slid shut. The elevator didn't budge. Someone stabbed irritably at the button. Nothing happened. Somebody got the doors open and the passengers free. "The elevator's out," one of them huffily informed the white-jacketed captain. The captain shrugged toward the nightscape outside, gone suddenly inky black. "So's New York," he replied. - from "Heart of Darkness," Newsweek, June 25, 1977

65 | 77 | 03 | - is a meditation on the blackouts which have occurred in New York City over the last forty years. From the relative social harmony of the mid sixties to the period of unrest and economic stagnation which followed in the next decade, each blackout unfolded in a different socio-economic context. Based on interviews and news accounts of each event, Liz Glynn will stage a series of vignettes exploring the social dynamics of a city gone dark.

artist’s bio:
Liz Glynn uses objects and actions to explore the ambition of empire and the pleasure of ruin. Her practice seeks to embody dynamic cycles of growth and decay by evidencing process, encouraging participation, and inciting future action. Her work has been presented at venues including the New Museum (NYC), the Los Angeles County Museum of Art (LACMA), Machine Project, the REDCAT Lounge. Reviews of her work have appeared in the New York Times, New York Magazine, the Los Angeles Times, Art Lies, Domus, and Archaeology Magazine. She received her MFA from California Institute of the Arts, and her BA from Harvard College.