los-angeles

Liz Glynn, [de]-lusions of Grandeur: The Myth of Permanent Material (After Donald Judd), 2014. Performance view, January 18, 2014. From the series “[de]-lusions of Grandeur,” 2013–14. Photo: Brica Wilcox.

Liz Glynn

Los Angeles County Museum of Art (LACMA)

Liz Glynn, [de]-lusions of Grandeur: The Myth of Permanent Material (After Donald Judd), 2014. Performance view, January 18, 2014. From the series “[de]-lusions of Grandeur,” 2013–14. Photo: Brica Wilcox.

Its drum churning, a red, white, and blue A&A Concrete truck awaited the verdict. Should, or could, Liz Glynn refabricate the five big open concrete boxes, now weathered and crumbling, of Donald Judd’s 1977 Untitled (for Leo Castelli)? As the truck idled and a restive audience looked on, Glynn and four assistants screwed together plywood molds to match the Judd boxes. Every few minutes, Glynn read into a microphone excerpts from decades of internal Los Angeles County Museum of Art memos and letters, laying out the complex deliberation behind the conservation of Judd’s sculpture. Nearly two-hours into the performance, the third plywood form was being completed, and the truck backed up to the first. “We could pour this,” said Glynn. “We could do it right now. . . .” Her narration had led in this direction, and the audience was ready for action. But what good would it do? The

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