Vito Acconci is an American artist born on the 24th of January 1940. Acconci is a Bronx, New York born; Brooklyn based architect, landscape architect and installation artist. His work is highly conceptual.

He received a BA in literature from Holy Cross College in 1962 and a MFA in literature and poetry from the University of Iowa.

Began his artistic career as a poet in the mid 60’s.
 Poetry, performance, photography, film and video, installations, models and architecture
 Used his own body as a subject
 Work has been shown internationally
 Wanted to involve the viewer

He has taught a many institutions including the Nova Scotia College of Art and Design, California Institute of the Arts, Cooper Union, School of the Art Institute of Chicago, Yale University and The Parsons School of Design.

“Acconci was proposing a new definition of the material object and a space for common experiences between spectator and artist by erasing the traditional boundaries between an artist and his public, an object and an event in time, a work of art and its existence in a spatial and/or social context”.

Acconci’s career-long exploration of the self has been articulated through many mediums. What began as an investigation of the artist’s own body in space-how it interacts with a given environment and how, in turn, that location affects it-has evolved into the construction of space itself. The relationship of the private to the public-and how the self participates in the surrounding world-has been a constant theme in Acconci’s art.

In 1969, already a published poet, Acconci made his first visual artworks, moving from the static domain of the printed page to the dynamic space of the empirical world. Combining photographs with texts, the artist documented task-oriented activities-jumping, stretching, bending, etc.-that he performed specifically for the lens.


Acconci’s recent TELE-FURNI-SYSTEM, an installation designed for watching video (his own and those of other artists), invites each visitor to interact with the environment by choosing his or her own viewing positions from a menu of different architectural options. Each monitor serves as a separate video channel and a building block in the network of stairs, benches, and lounges that constitute the piece. Here it is the viewer who activates the space by physically engaging with it and contemplating the panoply of moving images on display.