Vito Acconci (Italian: [ˈviːto akˈkontʃi], ; January 24, 1940 – April 27, 2017) was an influential American performance, video and installation artist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His foundational performance and video art was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity, and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world. His work is considered to have influenced artists including Laurie Anderson, Karen Finley, Bruce Nauman, and Tracey Emin, among others. Acconci was initially interested in radical poetry, but by the late 1960s, he began creating Situationist-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were Following Piece (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and Seedbed (1972), in which he claimed that he masturbated while under a temporary floor at the Sonnabend Gallery, as visitors walked above and heard him speaking.
In the late-1970s, he turned to sculpture, architecture and design, greatly increasing the scale of his work, if not his art world profile. Over the next two decades he developed public artworks and parks, airport rest areas, artificial islands and other architectural projects that frequently embraced participation, change and playfulness. Notable works of this period include: Personal Island, designed for Zwolle, the Netherlands (1994); Walkways Through the Wall at the Wisconsin Center, in Milwaukee, WI (1998); and Murinsel, for Graz, Austria (2003). Retrospectives of Acconci's work have been organized by the Stedelijk Museum in Amsterdam (1978) and the Museum of Contemporary Art, Chicago (1980), and his work is in numerous public collections, including those of the Museum of Modern Art and Whitney Museum of American Art. He has been recognized with fellowships from the National Endowment for the Arts (1976, 1980, 1983, 1993), John Simon Guggenheim Memorial Foundation (1979), and American Academy in Rome (1986). In addition to his art and design work, Acconci taught at many higher learning institutions. Landmarks, the public art program of The University of Texas at Austin, exhibited Theme Song (1973) and archived an essay dedicated to Acconci and his work on their website
Acconci died on April 28, 2017 in Manhattan at age 77.
Artist as subject
Film and audio
A pioneer of performance art talks about three groundbreaking actions he staged in New York in 1972
ListenStephen Holl and Vito Acconci's collaboration on the façade of New York's Storefront for Art and Architecture set an important …
Artworks that are created through actions performed by the artist or other participants, which may be live or recorded, spontaneous …
ReadAs part of Performance at Tate: Into the Space of Art, Jonah Westerman explores Vito Acconci's Sonnabend Show Jan 72: …
The late 1960s saw a radical rethinking of the art object, with the emphasis shifting away from the static artwork …
What does the term ‘installation art’ mean? Does it apply to big dark rooms that you stumble into to watch …
What is the place of documentary photography in art? This is the central question raised by Tate's first major exhibition …