Release on 2013-10-03 | by Matthias Koddenberg,Jörg Schellmann
A Catalogue RaisonnÈ
Author: Matthias Koddenberg,Jörg Schellmann
Pubpsher: Harry N. Abrams
Christo and Jeanne-Claude. Each was born on the same day in 1935, and this unusual artist couple worked together until Jeanne-Claude's death in 2009, changing the art world in the process. For their dramatic large-scale installations such as The Gates in NYC's Central Park, Wrapped Reichstag in Berlin, and Running Fence in Sonoma and Marin counties, California, they enveloped buildings and entire landscapes in various materials, revealing at the same time the essence and beauty of these structures and objects of nature. Refusing to accept commissions, and so in order to finance these enormous works of art themselves, Christo and Jeanne-Claude began making editions early on in their career--prints, collages, and objects. This completely updated, one-of-a-kind catalogue of works, designed by Schellmann Art and produced to the highest specifications, is an essential part of the story of these sui generis contemporary artists and a testament to their impressive breadth of vision and their independence and courage.
Essay from the year 2006 in the subject Art - Installation / Action/Performance Art / Modern Art, grade: good, The Open University (Department of Art History), course: Themes and issues in Contemporary Art History, language: English, abstract: This essay tries to point out that Christo and Jeanne-Claude's work deals with concepts of identity, gender and the performative, ideas which inform a great deal of the art that has been produced since the 1960s. These aspects in the work of the two artists have generally been overlooked due perhaps to the giganticism of many of their projects realized since the end of the 1960s, like "Wrapped Coast" (1968/69, Australia), "Valley Curtain" (1970/72 USA), "Surrounded Islands" (1980-83 USA), "Pont Neuf Wrapped" (1975/85, France), "Wrapped Reichstag" (1971-1995 Germany), or "The Gates" (2005 USA). Questions of identity, gender, and performance have not really been adressed in interpretations of Chisto and Jeanne-Claude's work. But at least since 2002 there are statements by Christo himself, which make clear that identity and gender have indeed been on his mind and that there also was quite early a link to Dada and Surrealism. In this respect it is certainly relevant that in 1963 Christo met Marcel Duchamp, who until 1968, the year of Duchamp's death, remained a friend and supporter. Christo's wrappings imply the blurring of identities, they transform male forms into feminine forms, or even try to introduce the impression of the formless, a concept developed by George Bataille. The performative points in the same direction. The concept of performance will have to be modified and enlarged in the case of Christo and Jeanne-Claude, as ther performances are not bound to a specific time and location, for instance in a gallery or a theatre. The performances often extend over several years or even decades and imply the presence of the artists at numerous different locations. Here the aspect of politics comes into view. As their environmen
This book documents the erection of a temporary, but monumental work of art featuring 7,500 16-foot-high vinyl gates designed to look like a golden, flowing river--coming to New York's Central Park in February of 2005.
Christo (born 1935) and Jeanne-Claude (1935–2009) have created some of the most visually breathtaking works of the twentieth and twenty-first centuries. Their projects have traversed and transcended the boundaries of painting, sculpture and architecture. This lavishly designed, epic volume brings together a wealth of archival material and photographic documentation to offer an intimate behind-the-scenes view of the monumental installations with which the couple have dazzled the public. Photographs portraying the artists at work are supplemented by pictures of all their major projects--Wrapped Coast(1968–69), Valley Curtain(1970–72), Running Fence(1972–76), Surrounded Islands (1980–83), The Pont Neuf Wrapped(1975–85), The Umbrellas (1984–91), Wrapped Reichstag (1971–95) and The Gates (1979–2005)--as well as reproductions of drawings, collages and objects. Matthias Koddenberg, art historian and close friend of the artists, spent many years compiling the more than 250 mostly unpublished photographs and illustrations assembled here. Many of them show works that were previously unknown or thought lost, including early drawings and paintings dating back to when Christo was still studying art in Bulgaria. Others document temporary sculptures--Wrapped Woman(1962, 1963 and 1968), Wrapped Volkswagen(1963) and Wrapped Tree(1966 and 1969)--or works that were intentionally destroyed and only survive as photographs. The publication was put together in close collaboration with Christo and includes documentation by renowned photographers such as Ugo Mulas, Enzo Sellerio, Harry Shunk and J�nos Kender, Charles Wilp and Wolfgang Volz, who has documented all of the artists’ projects since 1971, together with photos by associates and friends as well as pictures from the artists’ private archives.
For more than 20 years, the fashion powerhouses Grace Coddington and Didier Malige have lived together with a menagerie of incorrigible cats. This delightful, giftworthy book records their relationship through photographs (Malige's) and drawings (Coddington's) that document the couple's highly entertaining private and work lives through the eyes of their feline friends. These include Henri, an old-school, catnip-addicted, surfing chartreuse; his sister Coco, a couture-obsessed chartreuse on a sashimi diet; and her pal Baby, who doesn't quite share Coco's discipline, and will, sadly, never fit into a sample size. Then there's Puff, a mixed-up long-hair from Harlem whose curiosity--anyone for fortune-telling at Dave?--hasn't killed him yet; and finally Bart, the Persian youngster who would rather sit on the rooftop terrace than in the front row. "The Catwalk Cats," a visual diary introduced by the irrepressible Puff, gives us a window into four madcap seasons in the life of this fabulous furry brigade, with sections devoted to the Collections, the Campaigns, and, of course, the Catfights. At once delightful and dishy, it is both a convincing argument for the fundamental similarities between felines and fashionistas and a moving meditation on love and life as a family.~Grace Coddington is Creative Director of "American Vogue." A former model, she served as Fashion Editor and Fashion Director at "British Vogue" from 1968-1986 and Design Director of Calvin Klein in 1987. She is the author of the bestselling "Grace: Thirty Years of Fashion," which quickly sold out when it was published by 7L in 2003.~Didier Malige was inspired as a boy to become a hairstylist by grooming the cats and dogs athis mother's veterinary clinic. In