Christo and Jeanne-Claude

Two Works in Progress: The Gates, project for Central Park, New York and Over the River, project for the Arkansas River, Colorado

Synopsis by Jinyoung Yoon

Christo and Jeanne-Claude have been working togeher for 40 years creating large-scale temporary works in public spaces. The presentation began with slides of both their past and current works. Their past works include Valley Curtain, Grand Hogback, Rifle, Colorado, 1970-72; Running Fence, Sonoma and Marin Counties, 1972-76; Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-83 and The Umbrellas, Japan-USA, 1984-91. Most recently they have wrapped the Reichstag in Berlin. Some of their current projects are The Gates, Project for Central Park, New York City and Over The River, Project for the Arkansas River.

Christo and Jeanne-Claude do not accept any sponsors and have never done commissioned works because they wish to work in total freedom. Their projects are financed by the artists through the sales of Christo's drawings and sketches. Their projects are built by a corporation run by the artists, and sometimes a local subsidiary corporation is formed according to the project. Each project usually takes many years of preparation. This process includes developing ideas, negotiation, production, implementation and removal of the art work. Collaboration is also part of their process which includes negotiating and lobbying. The artists work with people such as engineers, environmental researchers and architects to make the art work happen. Much research is done to find the perfect site and environmental impact studies are sometimes undertaken.

The common denominator of their work is the use of fabric. The thickness or transparency of the fabric are significant elements. With the wrapping project, their fabrics cover every detail, unify the surfaces and create a new vision of the building. These wrapped buildings, according to Christo, "become the essence and the abstract of the structure." Christo compared their surrounded islands with the work of Monet. Like Monet's painting of the cathedral, they take existing architectural forms and transform them temporarily in the way they would like to see it. According to Jeanne-Claude, "the temporary large-scale environmental works have elements of painting, sculpture, architecture and urban planning."

After the work is finished it usually stays for 14 days. The intersection or interaction of people with the work is an important part of the work as well as elements of nature such as light and wind. The scale of the work also has emotional and psychological implications. All works are temporary and the artists recycle the materials afterwards.

According to Jeanne-Claude, their goal is to "create art works of joy and beauty. We do not create symbols. We do not create messages. We create works of art that have absolutely no purpose whatsoever except being works of art." However Christo explained that each of their projects has its own origin. For example, the Reichstag in Berlin has a special meaning to him because it is the place where east and west meet in a dramatic way. Christo, born of a Bulgarian industrial family, escaped to the West from Eastern Europe and was a political refugee for 17 years.

The whole process is part of their work and Jeanne-Claude compared it with being pregnant. Christo and Jeanne-Claude often referred to their work as their child. Each of their projects has its own life.

Analysis by Nancy Wynn

Christo and Jeanne-Claude have been making art in public spaces for forty years. But as the definition of public art has changed and been challenged throughout this century in what sense is their work public art? What responsibilities do artists have when placing art in public spaces versus creating art designed/intended to engage various publics or people?

Christo and Jeanne-Claude arrange their own personal vision, for their projects, within social structures establishing a focus on themselves, public institutions and their audience. Christo and Jeanne-Claude's personal vision as artists has always been their primary focus. They believe in freedom of ideas, superior aesthetic intentionality, the temporal nature of transformation, organic and geometric connections (nature and technology) and lastly personal sponsorship. Their strength and commitment to their vision creates a concrete foundation of integrity which supports them in the public sphere. In an effort to establish understanding and support Christo and Jeanne- Claude include communities, governments, civic groups, and individuals affected by their intended projects in a dialogue that encompasses negotiation and complete explanation. The intended idea, or project, is not open for critique, therefore the dialogue is meant to be informative but persuasive. Christo and Jeanne-Claude need to "sell" their vision so that the public will "buy into" the project, so that they can get permission to do it.

This reference to capitalism is not meant to demean their process. Their process has many levels of inclusion and exclusion, collaboration and intervention; perhaps a more perfect referent should be the bartering system. Surely what Christo and Jeanne-Claude have to barter is much more important and beneficial than the commerce products/advertising on Madison Avenue. "We create works of art, joy, and beauty," states Jeanne-Claude. Christo and Jeanne-Claude take full responsibility for all aspects of their artistic projects. Impact studies are usually done. Materials are researched and developed and then recycled when the project is completed. Hundreds of jobs are created for two weeks, as well as an economic boost to the community surrounding the site, and the site is most often returned to the community in better shape than it was before the project.

An interesting question was asked about how they determine the duration of their projects. If Christo and Jeanne-Claude were concerned only with their personal vision of realizing a project they would be satisfied with a few days–time enough to enjoy the project’s aesthetics and artistic qualities. But, feeling responsible to their family, friends and collaborators, Christo and Jeanne-Claude decide on fourteen days–long enough for the public to view the project and long enough for their stamina to last, economically, mentally, and physically.

Reflecting on the various artworks that Christo and Jeanne-Claude have completed around the world, I believe their artwork should be considered art in public spaces as compared to public art. Their personal visions are realized through the public allowing them to create at a public site. What is interesting beyond their artwork is the development of relationships and the creation of "experience" as a result of their process. This experience is realized by the individuals Christo and Jeanne-Claude's process touches and by themselves. Their public engagement through participation, interaction and reflection causes debate which in turn produces social commentary.