Christo

wrapped bottles, 1958-59 wrapped coast, 1969 the gates, central park, 1980 umbrellas, 1983

The ideas of intervening in the landscape: the idea of wrapping, of packaging, of presenting stems from an episode of Christo's art youth at the fine arts academy in Sofia, Bulgaria, where he was one of many students drafted to "beautify" a railway embankment. Such a work, Christo figured, made of real materials in the real world, was environmental art. In 1956, Christo moved west to Czechoslovakia, to Prague, and then to Vienna in 1957 where he studied at the Vienna Fine Arts Academy for a term. He then moved to Paris in 1958, where he married Jeanne-Claude. He now works out of his studio in New York City. What separates Christo from everyone else? Christo has left no permanent public monuments. In one sense the projects are sculptures of finite form. In another sense they are theatre and performance: they are planned for, put together, tended during their "life" and taken down. A unique interaction between people and the sculpture takes place. The numerous massive, delicate and vast pieces of art simulates the courage and fearless nature of Christo. Overall, Christo accomplishes three things at once by creating these things of uncanny beauty which exist temporarily in the landscape. The process of creation is art: artificial, constructed, man-made. The works enhance the real world, sharpens our vision, makes us more aware and observant. Finally, his work changes our perception of the natural environment. Traditional art techniques and materials-found, recycled and manufactured-of modern times like plastic, concrete and steel are used by Christo. Composition and shapes are architectural, geometric and abstract. These forms, in many cases, suggest walls, fences, paths, or encirclements-boundaries which are not defensive, but penetrable. Christo's message is simple: the media is the message. It is as innocent and sophisticated as enjoyment and beauty. The art of Christo lives in the memory of the many involved directly in his projects or the millions who just go to see it. A Christo can only exist with the co-operation of the people among whom it exists. Such a piece can never be imposed, but can only exist with permission, a permission which is not passive, but active. * reference: Vaizey, Marina. Christo. Rizzoli International Publications, Inc.: New York, 1990.

This information was compiled by Micah Frank (2-14-97).

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