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Topic: Vito Acconci


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  Vito Acconci - Wikipedia, the free encyclopedia
Vito Hannibal Acconci (born January 24, 1940) is a New York-based architect, public landscape designer, and installation artist.
Acconci began his career as a poet, editing Nine to Zero with Bernadette Mayer in the late 1960s.
Acconci transformed himself into a performance and video artist in the late 1960s and early 1970s, using his own body as a subject for photography, film, video, and performance.
en.wikipedia.org /wiki/Vito_Acconci   (250 words)

  
 [text] Vito Acconci
Alongside Bruce Nauman, Vito Acconci is one of those US artists whose action act in the late 1960s was referred to with the new label of »Art Performance«;.
Acconci describes the beginning of this new type of action art as follows: »We did not want the remote isolation of the theater, attended only by the initiate, in which only abstractions of the world and not the dirty world itself was shown.
Acconci demonstrated that the urban public space is defined by the random encounters between people that take place within it.
hosting.zkm.de /ctrlspace/d/texts/01?print-friendly=true   (888 words)

  
 Vito Acconci and Ana Mendieta: A Relationship Study 1969-1976
Vito Acconci pioneered a conceptually based performance art which developed out of his interests in language and poetry.
Acconci and Mendieta first met when she was a student at the University of Iowa and he was a visiting artist in residence.
Vito Acconci was recently nominated for the Hugo Boss Prize at the Guggenheim Museum and was a recipient of the New York Foundation for the arts Architecture fellowship.
www.artincontext.org /listings/pages/exhib/x/gw4y7x0x/press.htm   (561 words)

  
 Vito Acconci - Frazer Ward, Mark C. Taylor
Acconci is among the first artists to have adopted video, a medium which has gained enormous currency in contemporary art.
Vito Acconci is among the key late twentieth-century artists who expanded the boundaries of art beyond painting and sculpture, bringing art out of the gallery or museum into shared public spaces.
Acconci Studio has public commissions around the world and was featured at the Venice Architecture Biennale in 2001.
www.englishbooks.it /BUS/0714840025/Vito_Acconci.htm   (1117 words)

  
 | Vito Acconci |
It was begun in 1979 just after Acconci had done a work called "Wall Drawing" at P.S. 1 in which he used actual ladders to create a "drawing" on a wall.
In fact, Acconci has pointed out that (apart from the "Wall Drawing") his prints are his only wall works that are primary; his drawings and photo pieces always refer to and are based on his installations or performances.
Acconci has often spoken of art as being "this kind of instrument in the world." He has said, "in these prints, I want each of the images to act as potential instruments for use...ladder to climb, wing to fly, flag to wave." To Acconci, the usefulness of a ladder is to escape.
www.crownpoint.com /artists/acconci/ladder.html   (371 words)

  
 [No title]
Acconci has been a vital presence in contemporary art since the late 1960s; his confrontational and ultimately political works have evolved from writing through conceptual art, bodyworks, performance, film, video, multimedia installation and architectural sculpture.
Raw, crudely executed, and powerfully direct, Acconci's psychodramatic tapes enforce an intensive dialogue between the artist and viewer, the body and the self, public and private, subject and object, absence and presence.
Acconci used video as a vehicle for an intimate expression of self through the other, exploiting both the inherent immediacy and mediation of the technology.
www.eai.org /eai/biography.jsp?artistID=289   (744 words)

  
 Artnews.info Barcelona: VITO ACCONCI at MACBA 18 Nov 2004 - 20 Feb 2005
Vito Acconci (New York, 1940) began his artistic career as a poet in the mid sixties under the name Vito Hannibal Acconci.
Acconci was proposing a new definition of the material object and a space for common experiences between spectator and artist by erasing the traditional boundaries between an artist and his public, an object and an event in time, a work of art and its existence in a spatial and/or social context.
The power of the ideas of Acconci Studio, in which the artist maintained his commitment to language, the body and its relation with space, consisted of drastically rethinking the definitions of public space.
www.artnews.info /news.php?i=208   (339 words)

  
 CMA Exhibition Feature : Vito Acconci (American, born 1940) Other Voices for a Second Sight, 1974
Acconci's voice is heard reading transcribed speeches from 20th-century left-wing revolutionaries, such as Che Guevara, Franz Fanon, and Abbie Hoffman, articulating the loss of direction and integrity he and other artists felt had taken place during the Vietnam era.
Images of Acconci are projected onto opaque sheets and are accompanied by a third taped monologue in which an obscure, dreamlike narrative develops.
Acconci's identity is split between these three rooms and, within them, is further split into fragments of meandering narrative in which he occupies multiple identities.
www.clemusart.com /exhibcef/light/html/8258124.html   (329 words)

  
 Vito Hannibal Acconci Studio
Starting as a poet under the name Vito Hannibal Acconci in the mid-1960s, he treated the page as a space in which to act, defining words as props for movement and the page as a thing, a container, a map, and a field for movement.
His last works done in a poetry context were poetry events in which he used props (an audio recorder, the walls of the room or the chairs in that room) while his attempt was not to read from a page but to read the room.
These activities proposed a new definition of the material object by erasing traditional lines between an artist and his or her audience, a thing and a temporal event, and a work of art and its existence within a spatial and/or social context.
www.stylusart.com /noticias/macbavito/macbavitoen.htm   (462 words)

  
 Vito Acconci   (Site not responding. Last check: 2007-10-08)
Vito Acconci 979221371 979426800 Bristol Gran Bretagna Arnolfini http://www.arnolfini.demon.co.uk exhibitions@arnolfini.demon.co.uk 979221371.jpg 983746799 o Arnolfini Vito Acconci Para-Cities: Models for Public Spaces.
Vito Acconci is one of the most influential artists to have emerged from New York in the 1960s.
Recently Acconci has extended his interest in personal space to public space, and he has focused exclusively on architecture and the built environment, with large-scale architectural projects.
www.undo.net /artinpress/979426800.979221371.html   (316 words)

  
 Vito Acconci -- Facts, Info, and Encyclopedia article   (Site not responding. Last check: 2007-10-08)
Vito Hannibal Acconci (born January 24, 1940) is a (A Mid-Atlantic state; one of the original 13 colonies) New York-based (Someone who creates plans to be used in making something (such as buildings)) architect, public landscape designer, and (Click link for more info and facts about installation artist) installation artist.
Acconci began his career as a (A writer of poems (the term is usually reserved for writers of good poetry)) poet, editing Nine to Zero with Bernadette Mayer in the late (The decade from 1960 to 1969) 1960s.
In Seedbed Acconci lay hidden underneath a gallery-wide ramp installed at the Sonnabend Gallery, (Click link for more info and facts about masturbating) masturbating while vocalizing into a loudspeaker his fantasies about the visitors walking above him on the ramp.
www.absoluteastronomy.com /encyclopedia/v/vi/vito_acconci.htm   (300 words)

  
 Bookstorming.com Building an Island Vito Acconci/Acconci Studio, Vito Acconci,
Vito Acconci's Mur Island in Graz forges a closer bond between life on the river and in the two halves of the city.
The steel construction was designed by the American-born architect-artist Vito Acconci, based on the idea of Robert Punkenhofer, a native of Graz, and realized within the scope of Graz 2003: Kulturhauptstadt Europas.
Acconci Island, consisting of various interlocking surfaces with flowing transitions, houses an amphitheatre, a café and a playground.
www.bookstorming.com /fiche.asp?idlivre=2147472106&page=12   (229 words)

  
 Houndstooth: Vito Acconci   (Site not responding. Last check: 2007-10-08)
Acconci told the stories of such pieces as Seedbed, Follow, Claim, and Conversion with a spin, focusing his attention on how such early artworks relate to his current practice as designer/architect/urban planner.
Because of computer problems, Acconci had to lecture from a booth in the back of the auditorium as the audience faced forward to view the slides.
Acconci emphasized that although many regulations exist in spaces of human interaction, we can deal with them by asserting our creativity.
houndstooth.blogspot.com /2005/03/vito-acconci.html   (533 words)

  
 Step Sounds   (Site not responding. Last check: 2007-10-08)
Bronx-born artist/poet/teacher Vito Acconci may not have invented the term "multimedia." He may not have been the first artist to use art as "therapy," repetitious phrasings as spoken-word totem, or colors as sociological signifiers.
Acconci’s intent, at the time, was to rebelliously remove art from its static existence, making it unsellable and unsolid.
Despite that rebellion, Vito Acconci’s mix of body art and behavioral phenomenology has remained solid long enough to relive and sell in CD form.
www.citypaper.net /articles/080201/ae.pickd.shtml   (219 words)

  
 Guggenheim Museum - Moving Pictures
In 1969, already a published poet, Vito Acconci made his first visual artworks by combining photographs with texts to document task-oriented activities that he performed specifically for the lens.
This project announced the dialogue between camera and body that would become an essential aspect of Acconci's subsequent work, particularly the series of Super-8 films and videos made between 1969 and 1974 in which he obsessively contemplates his own body as a (gendered) site.
The inability to articulate and the breakdown of language—which give rise to Acconci's repeated pleadings and apologies to the viewer—enable the mouth itself to communicate as a representation of openness.
www.guggenheim.org /exhibitions/past_exhibitions/moving_pictures/highlights_2a.html   (246 words)

  
 Vito Acconci — dac   (Site not responding. Last check: 2007-10-08)
Vito Acconci was born in 1940 in the Bronx.
In his first visual work, which dates from the late 60s and early 70s, Acconci used his own body as a subject for photography, film, video and performance.
As a group, the Acconci Studio designs and builds public projects in parks, city streets and buildings.
www.dumboartscenter.org /auction/acconci.html   (172 words)

  
 Public Art in the Bronx...Vito Acconci   (Site not responding. Last check: 2007-10-08)
Acconci has created a courtyard design which transposes elements of the building's facade onto the ground of the plaza.
The courtyard spaces are enclosed by a classroom building on one side, a cafeteria/gymnasium on the opposite side, and a connecting bridge building in the middle.
The project continues Acconci's interest in transposing and subverting the logic of architectural space.
ca80.lehman.cuny.edu /pa/acconci.htm   (117 words)

  
 Strand Bookstore: Vito Acconci   (Site not responding. Last check: 2007-10-08)
Recognized for his daring & revolutionary contribution tothe course of 20th-century art, Acconci is a key pioneer ofperfformance & video art in the 1960s, Acconci has continued to surprise his audience by working in new & unexpected media, blurring disciplines from sculpture to installation to architecture.
From the publisher American artist Vito Acconci is among the most important pioneers of performance and video art.
From the publisher Acconci is an important pioneer of conceptual and body art and has consistently investigated the boundary between the body and public space.
www.strandbooks.com /profile?isbn=0714840025   (181 words)

  
 Vito Acconci
Vito Acconci was born in the Bronx, New York, 1940.
Vito Acconci's work began as fiction and poetry, which treated the page itself as a self-enclosed space for writer and reader to travel through.
In the mid-80's, the work became architecture, landscape architecture and furniture design: at the end of the 80's he started Acconci studio, a group of architects who design projects for public spaces-streets and plazas, gardens and parks, building lobbies and transportation centers.
www.ps1.org /cut/volume/acconci.html   (884 words)

  
 Guardian Unlimited | Arts features | See Through, Vito Acconci (1969)
Artist: In his most notorious work, Seedbed, Vito Acconci (born 1940 in New York) squatted under a ramp in the Sonnabend Gallery in Manhattan, listening to the footsteps of gallery-goers, fantasising about the people above him and masturbating, while his whispered dirty thoughts were amplified in the gallery.
Acconci was a hero of a body-art movement that he has since said must be understood as a response to the Vietnam war.
Acconci is still working but now makes far more social and responsible kinds of art.
www.guardian.co.uk /arts/portrait/story/0,11109,845513,00.html   (340 words)

  
 CONNECTIONS   (Site not responding. Last check: 2007-10-08)
Vito Acconci was born in the Bronx, NY, and currently lives in Brooklyn.
Acconci’s work has made a significant contribution to the history of conceptual art.
His Acconci Studio, is a team of designers and planners who develop public art proposals for international projects.
www.pica.org /gen/ex1.html?id=3   (227 words)

  
 Vito Acconci Online
Vito Acconci in Commercial Galleries and Auction Houses
Vito Acconci in the Los Angeles County Museum of Art Database
All images and text on this Vito Acconci page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
www.artcyclopedia.com /artists/acconci_vito.html   (272 words)

  
 Amazon.ca: Books: Vito Acconci   (Site not responding. Last check: 2007-10-08)
The highly diverse body of work produced by Acconci, an American visual artist best known for his darkly comic, masochistic performances and installations of the 1970s, is usefully surveyed in this comprehensive mid-career retrospective.
She also shows how Acconci's work since the '70s displays his penchant for lighthearted fun: he has constructed play houses with furniture shaped as pastoral landscapes, giant brassieres with seats for the viewer and public works resembling miniature golf courses with sliding floors, seesaws and vast stretches of Astroturf.
As Linker vividly describes Acconci's startling 1970s performance pieces, she explains how they relate to his ongoing effort to define the "nature of the self." Acconci's tactics include breaching the boundary between self and society, emphasizing...
www.amazon.ca /exec/obidos/ASIN/8881584778   (387 words)

  
 Vito Acconci - Acts of Architecture
The museum calendar provides some general information about Acconci's career up to now, the different exhibitions he has had, something about furniture, and his ongoing study of viewer participation in art.
In this exhibit, Vito Acconci has given us his architectural visions, checked only by the limitations of model construction materials.
Of course, most of Acconci's structures are clearly unrealistic and unbuildable, and yet his descriptions or proposals remain totally dry and unwavering.
www.coldbacon.com /art/vitoacconci.html   (1225 words)

  
 Amazon.co.uk: Vito Acconci (Contemporary Artists S.): Books   (Site not responding. Last check: 2007-10-08)
Vito Acconci is among the key late 20th-century artists who expanded the boundaries of art beyond painting and sculpture, bringing art out of the gallery or museum into shared public spaces.
Initally a poet, Acconci became involved with the New York conceptual art scene in the late 1960s.
These activities were at first documented by texts and photographs but as soon as video became available Acconci pioneered its use in the art medium.
www.amazon.co.uk /exec/obidos/ASIN/0714840025   (532 words)

  
 Vito Acconci's beams of light transform SFO corridor into bank of 'twisted phone booths'
With the opening of the SFO BART station last week, Acconci's piece, along with a bronze by Deborah Butterfield and Ned Kahn's outdoor "Wind Portal," finally received their official dedication.
Acconci says "we" not out of grandiosity but because his piece is really a product of the Acconci Studio, a team of architects he leads that consists of Charles Doherty, Celia Imrey, Dario Nunez, Jenny Schrider, Salja Singer and Luis Vera.
Acconci admits the irony that as the project has come to fruition, fewer and fewer people appear to use pay phones.
www.sfgate.com /cgi-bin/article.cgi?f=/c/a/2003/07/01/DD245564.DTL   (903 words)

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