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Vito Acconci

Following piece "Street Works IV", 1969

Two gelatin silver prints, typewritten text and pencil on cardboard
18 3/10 × 89 2/5 × 1 in
46.5 × 227 × 2.5 cm
This is a unique work.
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location
Milano
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About the work
Exhibition history
Signature
Hand-signed by artist
Frame
Included
Vito Acconci
American, January 24, 1940
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Best known for his controversial Body Art of the 1960s and ’70s, Vito Acconci has led a diverse career, one that has taken him from poetry through performance, video work to architecture. In Acconci’s subversive and highly physical performances, the artist was known to bite himself, burn off his body hair, and masturbate under a wooden ramp in a gallery while fantasizing through a loudspeaker about the people walking above him. For Broad Jump ’71, the artist organized a jumping competition for men, in which women were the prizes, offering commentary on male ownership of women. For Tonight We Escape from New York (1977), he installed a rope ladder in the Whitney Museum, alongside of which four loudspeakers played fragments of a racist dialogue that seemed to rise and fall along the ladder. Acconci’s interest in the human body and its relationship to public space later evolved into architectural, landscape, and furniture design.

Save
Save
share
Share
Save
Save
share
Share
About the work
Exhibition history
Signature
Hand-signed by artist
Frame
Included
Vito Acconci
American, January 24, 1940
Follow

Best known for his controversial Body Art of the 1960s and ’70s, Vito Acconci has led a diverse career, one that has taken him from poetry through performance, video work to architecture. In Acconci’s subversive and highly physical performances, the artist was known to bite himself, burn off his body hair, and masturbate under a wooden ramp in a gallery while fantasizing through a loudspeaker about the people walking above him. For Broad Jump ’71, the artist organized a jumping competition for men, in which women were the prizes, offering commentary on male ownership of women. For Tonight We Escape from New York (1977), he installed a rope ladder in the Whitney Museum, alongside of which four loudspeakers played fragments of a racist dialogue that seemed to rise and fall along the ladder. Acconci’s interest in the human body and its relationship to public space later evolved into architectural, landscape, and furniture design.

Vito Acconci

Following piece "Street Works IV", 1969

Two gelatin silver prints, typewritten text and pencil on cardboard
18 3/10 × 89 2/5 × 1 in
46.5 × 227 × 2.5 cm
This is a unique work.
Contact For Price
location
Milano
Have a question? Read our FAQ.
Want to sell a work by this artist? Consign with Artsy.
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