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Vito Performance _VERIFIED_


In the late 1960s, Acconci transformed himself into a performance and video artist using his own body as a subject for photography, film, video, and performance. Most of his early work incorporated subversive social comment. His performance and video work was marked heavily by confrontation and Situationism. In the mid-1970s, Acconci expanded his métier into the world of audio/visual installations.




vito performance



In the 1980s, Acconci turned to permanent sculptures and installations. During this time he invited viewers to create artwork by activating machinery that erected shelters and signs. One of the most prominent examples of these temporary installations is titled Instant House, which was first created in 1980, but was recently exhibited in the summer of 2012 at the Museum of Contemporary Art San Diego.[22] Later, in January 1983, Acconci was a visiting artist at Middlebury College. During that time, he completed Way Station I (Study Chamber), which was his first permanent installation.[22] The work sparked immense controversy on the college's campus, and was eventually set on fire and destroyed in 1985.[22] Despite this, the sculpture marked a transition for Acconci's career from performance artist to architectural designer.[22] He turned to the creation of furniture and prototypes of houses and gardens in the late 1980s, and in 1988, the artist founded Acconci Studio, which focused on theoretical design and building. Acconci Studio is located on Jay Street in Brooklyn. Acconci designed the United Bamboo store in Tokyo in 2003, and collaborated on concept designs for interactive art vehicle Mister Artsee in 2006, among others including the highly acclaimed: Murinsel in Graz, Austria.


Artist Vito Acconci (1940-2017) describes his wide-ranging career, which took him from installation to performance art, video art, and architecture. He reflects on his provocative solo performances, and explains why he eventually found more satisfaction in his collaborative architectural design practice.


In 1969 Acconci moved from poetry to creating photographic works that used the medium to document "performance situations"-preconceived activities executed before a live audience or in private. In this piece he set himself the simple task of walking back and forth in front of the camera and recording his position at fixed intervals, a process close in spirit to the "task performances" of his contemporary the avant-garde choreographer Yvonne Rainer.


Vito Acconci (b. 1940, Bronx, NY; d. 2017, New York) earned a BA in literature from Holy Cross College (Worcester, MA) in 1962. He completed an MFA in writing at the University of Iowa in Iowa City two years later. After returning to New York, he went on to develop a diverse body of work in poetry, criticism, performance art, sound, film and video, photography, and sculpture.


Vito Acconci, an artist and architect who pushed the boundaries of conceptual art, died on Thursday. He was 77 years old. Acconci leaves behind an influential body of work, including Following Piece (1969), a performance in which he trailed strangers throughout New York City; Seedbed (1972), which saw him masturbate under the floor of a gallery; and Murinsel (2003), a manmade island forged from glass and metal. 041b061a72


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