Artist Presentation 11: Vito Acconci

"Seedbed"

Vito Acconci began producing conceptually-driven performances in 1969 with "Following Piece." In that work, he randomly followed strangers around New York City until they went into a non-public space. He has challenged the very nature of the artistic experience and he is completely caught up in the relationship between the artist and the viewer.

In another group of works, Acconci tests the question: "How do I prove I'm concentrating on myself? I do something to myself (attack myself)." In "Rubbing Piece", he sat in a restaurant and rubbed his arm until it bled to see if viewers were more likely to approach him if he made himself vulnerable. In "Trademarks," Acconci again puts his body to the challenge. Sitting naked in a gallery space, he bit different parts of his body in an attempt to reach as much of it as possible. His motive was "to move into myself--move around myself--move in order to close a system." He literally displayed the idea of the artist as a maker by applying printer's ink to the bites and making imprints of them.

In his work, "Seedbed," Acconci created a bridge within a gallery space where he laid underneath it and masturbated. This work's purpose was to create an uncomfortable, intimate relationship between the artist and the viewers. They could not see him and this created a disturbing sense of mystery. His work interests me because it is completely non-traditional. He goes against the grain and pushes every envelope. The art that he creates is completely based on action instead of visually aesthetic work.