Dec
19

cavetocanvas: Vito Acconci, Following Piece, 1969 From the Metropolitan Museum of Art: In 1969 Acconci moved from the practice of poetry into photographic works that used the medium not to document an ephemeral event but within a systematic exploration of his body’s “occupancy” of public space (the street, theater proscenium) through the execution of preconceived actions or activities. For Toe-Touch, the artist produced two photographs from the upper (hands over head) and lower (touching toes) extensions of his body; the results are less depictions of a scene than indices of a movement prescribed by the limits of the body in two directions. In Following Piece, executed daily over one month, Acconci followed one randomly chosen stranger through the streets of New York until he or she entered a private location-an activity where, as the artist described it, “I am almost not an ‘I’ anymore; I put myself in the service of this scheme.”

cavetocanvas:

Vito Acconci, Following Piece, 1969

From the Metropolitan Museum of Art:

In 1969 Acconci moved from the practice of poetry into photographic works that used the medium not to document an ephemeral event but within a systematic exploration of his body’s “occupancy” of public space (the street, theater proscenium) through the execution of preconceived actions or activities. For Toe-Touch, the artist produced two photographs from the upper (hands over head) and lower (touching toes) extensions of his body; the results are less depictions of a scene than indices of a movement prescribed by the limits of the body in two directions. In Following Piece, executed daily over one month, Acconci followed one randomly chosen stranger through the streets of New York until he or she entered a private location-an activity where, as the artist described it, “I am almost not an ‘I’ anymore; I put myself in the service of this scheme.”

Source metmuseum.org

Reblogged from cavetocanvas

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    Very similar to my favorite work of Sophie Calle’s Suite Venitienne/Please Follow Me.
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