Vito Acconci
Architecture is not a space, is about time.
The influential, provocative and often radical art-making practices of Vito Acconci have earned him international recognition. Acconci has been a vital presence in contemporary art since the late 1960s. Since the late 1980s he has focused on architecture and design projects
Where We Are Now (Who Are We Anyway?), 1976
Installation at the Sonnabend Gallery
wooden table and stools, painted wall, four-channel audio, 10' x 54' x 32'
One installation/performance piece from this period is Seedbed (January 15–29, 1971).
In Seedbed Acconci lay hidden underneath a gallery-wide ramp installed at the Sonnabend Gallery, masturbating while vocalizing into a loudspeaker his fantasies about the visitors walking above him on the ramp. the purpose of this work is to involve the visitor and art work together
Vito Acconci,Seedbed, 1971
Three Relationship Studies, 1970
In this three-part exercise, Acconc study involves a form of mirroring. In Shadow-Play, Acconci spars with his own shadow image, aggressively confronting himself as other. In Imitations, Acconci attempts to mirror another man's gestures and actions.
Following
performed in New York City between October 3 and 25, 1969.
In 1969 Acconci moved from the practice of poetry into photographic works that used the medium not to document an ephemeral event. In This art work, He follow a stranger that just used their normal life until he/she got in his/her public space. this project gives a new perspective towards since acconci used a person who didn’t even know that he’she was stalked.
Filler
1971, 29:16 min, b&w, sound
In Filler, Acconci lies on the floor, facing the camera, his head and upper body hidden inside a large cardboard box. The focus of this minimalist work becomes the rasping sounds of the cough, and the near-silences that precede them. Acconci is absent and present, obscured and visible, communicating through a bodily function.
Work analysis
Acconci work focuses on communication to audience. for me, his style is sometimes give an aggressive feeling toward his works. Most of his famous work always used his body and combined with minimal things such as a mere wall. also, using no sound and color brought audience into a feeling of puzzling that make his work more interesting.
Marina Abramovic
Marina Abramovic, Serbo-Croatian pronunciation; born November 30, 1946 in Belgrade, Serbia is a New York-based Serbian artist who began her career in the early 1970s. she has recently begun to describe herself as the "grandmother of performance art."
Marina Abramović. Role Exchange. 1975
In 1975, Marina Abramovic had been a professional artist for 10 years. On the evening of July 2 of that year, she exchanged places with Suze, a woman who was a professional prostitute for 10 years as well. Both took on each other's roles for four hours and see what people will look when they
had differnt career. Also this make marina found out in this
art work that no one would buy her if she became a prostitute.
Marina Abramovic: The Artist is Present,2010
marina lets people sat oppisite her as long as that person want to and
face to face with her. this can give several feelings from audience to
artist.
Imponderabilia performed by Marina Abramovic/Ulay,1997
This work lets people walked pass by choosing side between walking pass
a man or a woman. Audiences have right to choose whether side they prefer.
this forced audience to participate with work.
work analysis
Abramović's work explores the relationship between performer and audience.
In my oppinion, after researched, i found that merina is one of an interes
-ting artist. her works let audeince to participate with. she not only just
perfomed herself like other artist but she also gave a chance for visitor
to be part of her attractive work.
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