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Detroit Institute of Arts Launches Commitment to African-American Art

July 21st, 2016

DIA director Salvador Salort-Pons with a David Hammons work, via Detroit Free PressThe Detroit Institute of Arts as launched a multi-year commitment to deepen its holdings of African-American art, launching a new series of acquisitions, exhibitions, artist commissions, community partnerships, staff development and internships.  “We want to be the best,” says director Salvador Salort-Pons.
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Art News Traces the History of 57th Street as a New York Art World Mainstay

July 21st, 2016

The New York Gallery building, via Art NewsArt News takes an intriguing look at 57th Street, the original gallery district in New York, and its continued place in the New York art world.  “We have a lot of European artists we represent and I don’t think they were in love with Chelsea,” says Marian Goodman. “You see so many galleries in a row that you have to question the interest level [of visitors] after a while when they go to Chelsea. Very often they start to forget what gallery they’re in and what art they show.”
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Gagosian Gallery Agrees to Pay Over $4 Million in Back Taxes

July 21st, 2016

Larry Gagosian, via NYTGagosian Gallery has agreed to pay over $4 million in back taxes owed to New York State this week, the New York Times reports.  “Although we cannot comment on these findings, we accept and will fully comply with the terms of the settlement to bring closure to this matter,” the gallery said in a statement.  
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REFERENCE LIBRARY

Vito Acconci

Vito Acconci
Vito Acconci image via The Brooklyn Rail

b. 1940
Lives and works in:

Brooklyn, New York

Represented by:

Acconci Studio, Brooklyn, NY

Education includes:

College of the Holy Cross BA, Worcester, MA

University of Iowa MFA, Iowa City

Acconci, a New York born and based artist, began his career in the mid-60s as a poet and co-editor (with poet and author Bernadette Mayer) of the journal 0 to 9. The journal published works by important contemporaneous artists and writers such as Robert Barry, Dan Graham, Sol Lewitt, Yvonne Rainer, and Robert Smithson.By the late 60s Acconci drifted from writing and, influenced by the readings he participated in, started exploring performance-based work, video, film, and photography. Much of this work was highly conceptual and focused on the artist’s body within space (Following, an early piece, consisted of the artist being led around New York City by strangers). Another prominent feature of this work was the element of total physicality as pronounced through his engagement with his own body, which at times was quite grotesque and bordered on violent. Perhaps his most notorious piece, Seedbed (1971), consisted of Acconci lying under a wooden ramp in Sonnabend Gallery, masturbating, while his concurrent fantasies were being broadcast through speakers in the gallery. This piece, which employed performance, language, and a direct relationship between the viewer and the artist, would establish the vein in which Acconci worked for years to come.
crash by vito acconci

Crash by Vito Acconci, image via Wikipedia

By the 1980s, Acconci explored more proto-architectural constructions, moving out of the traditional gallery space into more open, dialogical, public space. In 1988 he formed Acconci Studio, an architecture and landscaping firm, with a group of other architects. Acconci Studio, based in Brooklyn, continues to design public buildings.

City of Words, Lithograph by Vito Acconci

City of Words, Lithograph by Vito Acconci, image via Wikipedia

Vito Acconci- Homepage

Wikipedia Entry

Books About Vito Acconci:
More info about the artist coming soon.

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