The Storefront for Art and Architecture is inviting Acconci acolytes to inscribe tribute messages on its walls.
In the Brooklyn College Art Department, where he taught for years, the late artist’s assignments and approaches are legendary.
For a little under two decades, Acconci produced strikingly original and impressionable art, before abandoning it for experimental architecture and design.
Few people may know the names of Shunk-Kender, but the pair of photographers behind that hyphenated moniker have captured many of the most famous images of post-war modern and contemporary art in Paris and New York and together they documented many ephemeral events that would’ve been lost to history if it were not for their work.
While at The Piers: Art and Sex along the New York Waterfront at the Leslie-Lohman Museum of Gay and Lesbian Art, one question kept popping up in my mind: What is with this obsessive nostalgia for the decaying, destroyed and often depressing New York of the past, particularly as connected to the emerging gay subculture and downtown art scene of the 1970s and ’80s?
I pass Vito Acconci on the way to the subway perhaps two to three times a week at random times. I know his studio is in my neighborhood, but I haven’t figured out his route or his schedule. Not that I’ve made an effort to follow him as that would feel like copying his performance.