Description : Vito Acconci's work "Courtyard in the Wind" for Munich's architectural department, was his first permanent structure in a public space: a revolving ring of landscape in the courtyard may be moved with the aid of a windpower plant on top of the Rathaus tower. This book documents this project.
Description : Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.
Description : "Between 1969 and 1973, Vito Acconci's creative output was focused on body pieces and performances, many of them seminal works now firmly lodged in the art historical cannon of the time. Whether he was transforming space by masturbating under a platform extension of the gallery floor or transforming the body by tucking his genitals between his legs, Acconci promoted a radical, corporeal method of working with the human presence that has remained relevant in these less performative times. This publication traces the development of Acconci's early work through his own writings and documentations from that time. Rather than a critical study, it offers invaluable primary source materials: For each of the approximately 200 performances/works included, Acconci drafted meticulous notes, mapping out his ideas and describing the specifications of each piece. Many of the artist's works were ephemeral performances and actions, and these primary source materials are now the only extant artifacts from the work. Thus the book's contents come directly from Acconci's personal archives, and include his notes and documentations, plus photographs, where available. An introduction by Gregory Volk provides historical context and addresses the issues of body art and performance still relevant today." "The works of Vito Acconci are more often than not about creating a public space via the body-from his radical performances at the beginning of the seventies to his unusual architectural designs since the establishment of the Acconci studio at the end of the eighties. Between 1969 and 1973, his creative output was focused on body pieces and performances, many of them seminal works now firmly lodged in the art historical cannon of the time. This publication is a monumental and historical recount of the artist's itinerary from his first artistic stage as a poet, writer, video and body artist to his recognition today as a ground-breaking architect from 1969 to 1973. It traces the development of Acconci's early work through his own writings and documentations from that time and offers invaluable primary source materials. Each of the approximately 200 performances/works included are accompanied by Acconci's meticulous drafted notes."--BOOK JACKET.
Description : The work of Vito Acconci is among the most influential of the last 30 years. His adventures in performance, audio and video, sculpture, writing and architecture, from the late 1960s through the present have provided countless milestone works for younger artists. The overriding concerns throughout his work have been self-analysis and interpersonal relationships, themes he has explored in many different ways. This monograph will be the most complete publication available on this vital American artist, and will include both extensive visual documentation from throughout his career and a wide selection of his writings.
Description : Invention and imagination, the fake, the fictive, the fantastic, and the downright offbeat: the latest edition of the Sydney Biennale features drug taking in the Andes, the Queen of Mud, Pope Alice, submarines, and flying machines. From May 15 to July 14, at various venues around Sydney's Central Business District (CBD), 57 artists from 21 countries prove that the world may just be fantastic. See Vito Acconci's architectural dreams, Jim Shaw's Thrift Shop, Glenn Brown's dramatic landscapes, Dexter Dalwood's paintings of famous interiors you've never seen, Susan Hiller's UFO witness stories, Paul Noble's fictive cities, Panamarenko's fantastic flying machines, Gilles Barbier's living room-cum-space machine, Cang Xin's buried self, Yutaka Sone's marble cities, and many more collisions between the fantastic and the real world.
Description : In the 1960s, as installation and conceptual art opened up new possibilities for materials and media, artists began to use plants, vegetation, soil, and the actual landscape to develop their ideas. Dubbed "land art, " this work, with its implicit environmentalism, did not seek, like topiary or traditional landscape architecture, to impose a decorative or functional order, but rather to find in organic material a way to renew art's elemental relationship to nature. This book documents works by more than 60 artists -- including Ian Hamilton Finlay, Jenny Holzer, Dan Graham, and Jeff Koons -- for the Artist's Gardens Project in Weimar, Germany.