Acconci Vito Quotes & Sayings

My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture. — Vito Acconci

Maybe I had to stop photographing so that I could learn to touch. — Vito Acconci

I had a total revelation with the feminist moment, with Carolee Scheeman and Marina Abromovic and of course Joan Jonas; that was a big breakthrough with me. And through them, [I was introduced to] Chris Burden and Bruce Nauman and Vito Acconci. You can almost call it a gang, because the works are always talking together. That stuff had a huge impact on me, but other than that, my interest had always been old paintings. — Ragnar Kjartansson

I became much more interested in plot when I really didn't consider myself a writer anymore. When I was in an art context and I started to do installations, that was when writing of mine almost returned to fiction. Earlier I felt like I didn't have anything to write about, I could only concentrate on the page, I could only concentrate on words. — Vito Acconci

Everybody uses labels: they give you a handle on things - an over-simplified handle, sure, but without labels, without ads, without words, the world would be an indistinguishable mass, a blur. You can hope, maybe, that people ascribe so many labels to you that none wins out — Vito Acconci

Writing was always a laborious thing for me. I never wrote fluently, I never wrote fluidly, there was something very awkward in my writing. But it seemed to me purposely awkward. It's almost as if I made the labor part of writing. — Vito Acconci

Tonight I think again of many days that are sacrificed for one night of love. Of the waste and the fruit of the waste, of plenty and of fire. And how painlessly-time. — Yehuda Amichai

I always have music playing in my studio when I design. It really gets me in the mood and allows me to focus. — Yigal Azrouel

I wanted to be involved with the making of some kind of parallel world. I thought, there's no reason to go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I'm not sure if I can tell. — Vito Acconci

Especially once those poetry events began, because, yeah, the stuff was still on the page, but the page was starting to spill into real space, spill into air, once you could hear it, once there was a typewriter, once there was a body of a typist, it was getting rid of the confines of the page. — Vito Acconci

It's not the bullet that kills you, it's the hole. — Vito Acconci

It's language as a kind of structural system. A diagram of a sentence, now that seems like a kind of architectural model. I don't know how to explain it, but it would be nice to try. Why, why this fascination? — Vito Acconci

[My early performance work] started by being the activity of a person, any person, like any other - but once that person became photographed it became a specialized person, the object of a personality cult. — Vito Acconci

It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then. — Vito Acconci

Any time you do something, you make decisions about time and space. I wanted those decisions to be out of my hands. I could be dragged, carried along by another person, I could be a receiver. I could be the agent of the overall scheme, but I didn't want to be the agent of the particular action. I could make the ultimate decision that my space is going to change now, but I don't know where it's going to go. — Vito Acconci

I was always fascinated by diagramming a sentence. Because that is going into a space, going into a world of language. — Vito Acconci

You cannot compensate by sacrifice what you lose through disobedience — Edwin Louis Cole

Yeah, it's not that I wanted to do a painting, I wanted to do writing like that. What jolted me about Jasper Johns was how important it is to start with a convention, how important it is to start with what everybody knows and everybody takes for granted, whether it's a number, an alphabet letter, a set of alphabet letters, a target. — Vito Acconci

I had no problems staying motivated because things that were happening were things I looked forward to. — Mario Andretti

[Photography was necessary to] make my place in the art-world: in order to do this, I had to make a picture, since a picture was what a gallery or museum was meant to hold (all the while, of course, I was claiming that I was denying the standard, rejecting it ... ) — Vito Acconci

What would it be like to care so little about what other people thought of you? — Cate Tiernan

The idea that any art is achieved 'intuitively' is a dehumanization of the brains, effort, and the traditions of the artist, and a classification of said artist as subhuman. It is those supposed incapable of intelligence, training, or connection with a tradition who are described as working by instinct or intuition. — Joanna Russ

Architecture is not about space but about time. — Vito Acconci

There's a legal term for a problem in public space: something that might draw people to an area-say, across train tracks-where they might be caused harm. It's called a 'public nuisance.' I wouldn't mind being called that for my life's work. — Vito Acconci

Two days later, Republican senator William Borah of Idaho, though widely considered a progressive Republican, warned that Roosevelt's policies were endangering the very foundations of American liberty and that their "creeping paralysis of bureaucracy threatens freedom of the press, placing the yoke of torture, colossal expense, and demoralization on the nation. — Daniel James Brown

In a world of physical ease, brutal social equality, and reasonable economic equality, exclusiveness in frivolity becomes the most sought-after of all distinctions. — Roger Zelazny

Rather than attend to a world considered as if it's out there, I have to start to attend to me. That led to some things that I never wanted it to lead to, person as a sort of psychological miasma. I started to get wrapped up in self, and then, for the first time, self did become an autobiographical self. — Vito Acconci

I think a lot of actors take on fun roles and then they're lazy or flippant with them. I just can't do that. — Guy Pearce

I was starting to recognize a corner I was driving myself into: that all writing could do was refer to things that had already been written. I'm making the margin, but the margin of a book that already exists. I was having this exhilaration at, but at the same time horror of this recognition that I'd driven myself into the world of only books. This is a world of the previously written, and maybe I don't have to add to it, maybe all I can do is measure it. — Vito Acconci

The corporations have taken over. Even in the recording studio. Actually, the corporate companies have taken over American life most everywhere. Go coast to coast and you will see people wearing the same clothes, thinking the same thoughts, eating the same food. Everything is processed. — Bob Dylan

I'm using my own person in pieces, but I'm trying to turn my person into a nonperson in the sense of a person without will, without volition. I'm subjecting myself to a scheme. — Vito Acconci

You could walk around behind the typist and read the text, which was about hearing, and what you heard was the sound of the typewriter. Of course, this was a pre-electric typewriter, a typewriter that made noise. — Vito Acconci

Even though I always claimed that I didn't want to write about something - once I wasn't writing fiction, anyway; I think for me the change from fiction to poetry was that in fiction I was writing about something, in poetry I was writing something. — Vito Acconci

I can pick out people in this city to follow. I can be in a show at the Museum of Modern Art, my space in the Museum of Modern Art is my mailbox, my mail is delivered there. Whenever I want mail, I have to go through this city to get my mail. — Vito Acconci

When white people envision their perfect home, it always has hardwood floors. In fact, most white people would prefer a dirt floor over wall-to-wall carpeting, because to them it would have the same level of cleanliness and probably fewer germs.
White people are petrified of germs, and when they look at a carpet all they can see is everything that has ever been spilled, tracked in, or shaken loose into the carpet fibers. But more disgusting to white people is that wall-to-wall carpeting reminds them of suburban homes, motel rooms, and the horrible apartments that they have visited or lived in over the years. It has no soul. Only germs.
Hardwood floors, on the other hand, are easily cleaned and give a sense of character to a place, since they are often the original flooring in older buildings. It is a well-known white fantasy to purchase a home or apartment that has disgusting carpet and then to pull it up to reveal a beautiful hardwood floor underneath. — Christian Lander

If something's public then it seems like the important thing is the person in that public. And the notion of rhetoric. I went to Jesuit schools that focused on first there's grammar, then there's rhetoric, and rhetoric's usually seen as a kind of degraded method, because you're trying to persuade. — Vito Acconci