Christo and jean-claude biography meaning

Summary of Christo and Jeanne-Claude

Christo's early education in Soviet Socialist Realism, and his experience fleeing his home as a refugee of political revolution, informed his career's numerous forays into real-world politics as a primary subject and source of his artmaking. His 35-year collaboration with his wife and fellow artist, Jeanne-Claude, and the large-scale installation works they co-authored, stand out as some of the greatest achievements in early site-specific art. Together, the duo created monumentally-scaled sculptures and interventions which often utilized the technique of draping or wrapping large portions of existent landscapes, buildings, and industrial objects with specially engineered fabric. While they often insisted that the aesthetic properties of their art constituted its primary value, reactions from audiences and critics worldwide have long recognized a broader commentary operating across their work, and themes ranging from environmental degradation, to the vexed history of the 20^th century and the Cold War, to the perseverance of democratic and humanist ideals.

Accomplishments

• Christo and Jeanne-Claude's interventions in the natural world and the built environment altered both the physical form and the visual experience of the sites, there

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Subtracting Reality, Revealing Beauty. A Tribute To The Unique Legacy of Christo and Jeanne-Claude

Articles and Features

By Benedetta Ricci

“I think it takes much greater courage to create things to be gone than to create things that will remain”.

Christo

Who are Christo and Jeanne-Claude?

If you happen to visit Paris, you might want to stop by Rue Visconti. Connecting Rue Bonaparte and Rue de Seine, it is one of the narrowest streets in the city and, since the sixteenth century, has been home to many prestigious tenants, including Racine, Delacroix, and Balzac. However, the fame of this little street famous was premised not on its illustrious inhabitants nor its historic boutiques, but instead an event of June 27th, 1962. It was 9 pm when, in front of a small dumbfounded crowd, a truck entered the street, stopped and unloaded 89 metal barrels used for transporting gasoline and oil. What at first glance could be mistaken for a public works crew at this unusual time of day was actually the first large-scale work by a couple of artists that would literally come to spread their vision over much of the world.

The barrels, not altered in any way from their original industrial appearance – colours, brand names, and rust were still visible – were arranged