about

 

Spirit Resurrection

Spirit Resurrection is a platform for performance inspired by the historic 1980 Public Spirit festival.  A series of new performances and re-inventions of historic works will be organized through a calendar structure based on the original.  This website offers an archive of the original festival combined with an open source platform for artists to participate in the project and the larger Pacific Standard Time festival. Performances will be staged at artist-run spaces, non-profits, and other sites in Los Angeles and beyond.
 
Spirit Resurrection was commissioned by LACE as part of Los Angeles Goes Live: Performance Art in Southern California 1970-1983 an exhibition and performance series that explores the histories and legacies of performance art in Southern California in the 70s and early 80s. Los Angeles Goes Live is part of Pacific Standard Time. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.

 

Public Spirit

“Public Spirit was the first performance art festival of such scope ever to be held in Los Angeles.  It included seventy performances by virtually every artist in Los Angeles currently (at the time) working in live performance.  Public Spirit was presented through the cooperation of the Los Angeles arts community and without public funding.”

- From the pages of High Performance

 

It was organized by a loose-knit group of artists known as the Highland Art Agents – Barbara T. Smith, Paul McCarthy, John Duncan, Chip Chapman, and Linda Frye Burnham – with the critical support and sponsorship of Marc Pally, Laura Silagi, and Megan Williams of L.A.C.E. Venues including L.A.C.E., Vanguard Gallery, DTLA, the American Hotel, Pasadena Film Forum, and Jett’s Cafe and Arthouse hosted performances during May and October of 1980.

 

Liz Glynn

Liz Glynn explores the ambition of empires and the pleasure of ruin through sculpture, participatory performance, and large-scale installation. Her work draws upon epic historical narratives, including the rise and fall of Rome and the New York City blackouts, to consider how human agency operates in the present tense. Her sculptural practice frequently includes objects marked by the hands of their maker, and continually altered through performative action or possession.