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Vito Acconci’s (1940 – 2017) work is multi-faceted, including prints, poetry, performance works, bodyworks, installations, videos, and architectural installations.

Working at Graphicstudio in the mid-eighties, Acconci created one monumental etching and a series of three small etchings, employing conventional techniques as well as shaped plates and embossing.

People Mask, Red Mask, End Mask

The three mask etchings address sociopolitical themes in a context of plates cut to resemble variations on the “happy faces” of pop culture.

People Mask
1983
Photoetching with embossing
8-5/8 x 7-7/8 inches

Red Mask
1983
One-color photoetching with embossing
8-5/8 x 7-7/8 inches

End Mask
1983
One color etching with embossing
8-5/8 x 7-7/8 inches

Edition: 30 / XXX
$5,000. – Suite of Three

Vito Acconci

Vito Acconci is a multimedia American artist known primarily for his work in the landscape architecture and installation genres. He has also been prolific in the fields of performance, art and design. Vito Acconci started his art career in the late 1960s by using his own body as the subject for works in film, photography, video and performance. In addition to Situationism, Acconci was a pioneer of the Body Art movement, which emphasised the sexuality, physicality and endurance of the artist and in which the artist used his or her own body to make a statement. One of Vito Acconci’s best known pieces in the Body Art tradition was staged in 1971 and called Seedbed. For this installation, Acconci laid beneath a ramp in a gallery and masturbated while patrons walked overhead. He announced his fantasies about the visitors over a loudspeaker as they passed.