As Acconci's art shifted from poetry to body-oriented performance in the late 1960s, he often incorporated photography as a means of returning his art to the page and of creating something that would last beyond the moment. This work, dubbed a "photomatic enunciation piece," is a photo-booth strip showing five random flashes of the automatic camera as the artist sang Cole Porter's 1934 song "Anything Goes" with exaggerated clarity. Merging performance, chance occurrence, conceptual art, and an assertively anti-art process, Acconci's work is quintessentially of the 1960s.
Inscription: Inscribed in pencil on the mount, verso B: "PHOTOMATIC ENUNCIATION PIECE // ('ANYTHING GOES") VA 69"
Vito Acconci; Addison Thompson
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 8," March 14, 1995–June 11, 1995.
The Metropolitan Museum of Art. "Photographs: A Decade of Collecting," June 5, 2001–September 4, 2001.
The Metropolitan Museum of Art. "Photography on Photography, from the 1960s to the Present," April 8, 2008–October 19, 2008.
Portraits of Acconci taken as he sat in photobooth singing Cole Porter's Anything Goes.