political, social, economical and environmental.
Christo Vladimirov Javacheff, born in Bulgaria and JeanneClaude, born in Moscow, share the same birthday: June 13, 1935. The couple met in 1958, when Christo was commissioned to create a portrait of Jeanne-Claude’s mother in Paris.
The idea of using fabrics for the majority of their works began when Christo wrapped random things. He noticed that when he wrapped with fabrics, a new identity was formulated. Even though when the objects were wrapped and their intricate design was covered, the simpler details stood out which established the design’s structural base.
In 1994, the couple announced that every project created would be labeled as Christo and Jeanne-Claude; one entity. Much controversy and criticism arose because Christo drew all the drawings. Thirty years later, everyone knew that the couple worked together so there was no point in arguing about who does what.
Christo and Jeanne-Claude’s work is found either in urban or rural areas. The artists use a part of the environment for a temporary time only. No matter what weather condition takes place, or whether the materials are recycled or not, if a person were to go back to the site, they would still see a small section dedicated to the project that was placed there.
When asked what inspired the couple, their response was that in every idea, their hearts and brains were responsible for it. None of their ideas came from a previous design. Christo and Jeanne-Claude also found inspiration when about twenty out of their sixty projects succeeded because they either did not get permission to create it or they simply lost interest.
The artists make their works at a larger scale mainly to witness the outcomes they establish. Some works are temporary placed but when it is recycled, there is still a landmark or legacy left behind. Even though it is taken down, the project still exists because it created movement.
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The artists created this Wall of Barrels to notate and portray the effects of the Berlin Wall. During the protests and demonstrations, Christo and Jeanne-Claude created this work to show the effects of this wall and what it will cause.With the Wall of Barrels, the narrow one way street closed the street traffic, cutting all access and communication between the street across. The barrier between the two sides of the wall created a dead end. The couple excelled in noting their purpose of their design and how it communicates to the people and their surroundings.
Lesson ONE : I learned that artists could create in landscapes and still call themselves artists. Christo and Jeanne-Claude create in landscapes; they create movement so people can interact with the environment, and with each other. However, they are not classified as landscape architects but as artists. Their projects consist of guiding people through, around, beneath, and above it. They manage to create space in the field they are working on with such simplicity. With the walkway, people are tempted to walk there rather than the grass.
Wall of Oil Barrels
Wall of Oil Barrels - The Iron Curtain, Rue Visconti, Paris, 1961-62 http://www.christojeanneclaude.net
drawing example
image produced by creative individual; provide citation for source of image
To measure In this image, the artist’s drawing made them visualize how much pink fabric they needed for the Surrounded Islands. In order to get a precise measurement they had their drawings scaled. Since each of the islands varied in size, Christo drew a sketch and measurements to indicate how wide and long they needed their fabric to be. Without sketching and mapping out where the work is going to be placed, the process will be more time consuming and the measurements will be off.
drawing example
image produced by creative individual; provide citation for source of image
To present The artists made the invisible visible by creating a barrier in the valley. The orange fabric curtain can be seen as a stopping point. The figure in the field is the orange fabric because without it, the valley would be continuous and directed towards the vanishing point. The figure creates movement for the ground by creating and eluding space. The artists presented their ideas by constructing a stopping point to create a connection between both sides of the valley.
The Gates, Central Park, New York City, 1979-2005. http://www.christojeanneclaude.ne
Discussion of Line, Composition and Color
Hatch
Cross Hatch
Composition Sketch
Director
Valley Curtain, Rifle, Colorado, 1970-72 http://www.christojeanneclaude.net
drawing example
image produced by creative individual; provide citation for source of image
To observe The Wrapped Trees offer a different look for the trees. When the trees are wrapped, the branches appear more intricate and detailed. As the light reflects inside the wrapped, the branches appear as if they are creating a skeleton. The branches act as the figure while the wrapped fabric as the ground. With the fabric surrounding the tree, one would assume that the branches would be hidden or disacknowledged but when observed carefully, the wrapped fabric makes the branches stand out even more.
Bracelet
Scribble
Wrapped Trees
Wrapped Trees, Fondation Beyeler and Berower Park, Riehen, Switzerland, 1997-98. http://www.christojeanneclaude.net
The artists tend to use vibrant colored fabrics to exemplify their design intent. For example, in the Surrounded Islands, the couple chose to use a vibrant pink not only to make the design stand out, but to be in harmony with the colors of the Biscayne Bay waters and the reflected Miami sky. When an artwork is created with the fabric, depending on the time of day, the lines, composition, and color vary. When the sun reflects onto the project, the creases in between the fabrics create composition by eluding a shadow. When the wind hits the artwork, the lines or creases change as well.
Valley Curtain
David Maysles
Director
Since the uses of fabrics are extremely fragile and have a lot of details when they overlap, the use of vibrant colors exemplifies the objects major and minor details.
Surrounded Islands
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drawing example
image produced by creative individual; provide citation for source of image
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Albert Maysles
Photographer
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Composition diagram 1.5” x 3”
Biscayne Bay, Greater Miami, Florida 1980-83. http://www.christojeanneclaude.net
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During an interiew, Christo was asked where a perfect Christo and Jeanne-Claude work would be upon looking at a landscape. He replied saying that there were no rules. The couple explained how their works include elements of
Wolfgang Volz
Stipple
Combination
Solid
Line type label
When Christo creates his sketches, he uses different sketching techniques such as hatching, cross hatching, bracelet, stippling, etc. He does not simply rely on one technique when he creates and communicates his drawings. He also establishes different line weights when he sketches to portray a three dimensional figure.
Wrapped Walk Ways, Jacob Loose Park, Kansas City, Missouri, 1977-78 http://www.christojeanneclaude.net
To Diagram
Lesson TWO : I learned that not all artworks or projects must be permanent. I used to always believe that what matters most about a certain work that is created is how long it stays and how long the legacy stands. Upon researching Christo and Jeanne-Claude’s projects and artworks, I noticed that the majority of their projects were temporary and were displayed for only a short period of time. I learned that I should shift my thinking by realizing artworks as a momentary substance. It is about the present and about how people interact at the same instant. It isn’t about how people will deal with it in the future. Artwork is supposed to create the visible from the invisible, it is not about how long it will be displayed for. Valley Curtain, Rifle, Colorado, 1970-72 http://www.christojeanneclaude.net
To Illustrate (process)
Lesson THREE:I learned that sometimes giving up on a project is for the best. Not every work or idea that is thought of will be executed efficiently. In Christo and JeanneClaude’s case, many of their projects had to go through a long series of approvals which made them lose interest towards their work. I learned that being stubborn about a certain idea and not being able to let go sometimes can reflect on my future work. Letting go and starting fresh can be beneficial when you do not become extremely attached to your work. For example, it was difficult to receive approval for the Lower Manhattan Packed Buildings. "Lower Manhattan Packed Buildings". Not built. http://www.christojeanneclaude.net
To Display
Christo and Jeanne-Claude Timeline
Creative Statistics Christo and Jeanne-Claude never travelled on the same flight just in case one of the planes crashed the other would continue their works.
oth born June 13, 1935
A case study by Nermeen Aboudawood
Christo and Jeanne-Claude
To notate
Discussion of Christo and Jeanne-Claude and the importance of visual communication
1961 1952 1958 Jeanne-Claude receives Christo and Jeanne-Claude Wall of Oil Barrelsdegree of Latin/Philosophy meet in Paris. First Collaboration for Christo 1953-1956 1960 in University of Tunis. and Jeanne-Claude. Christo attends University of Their first son, Cyril, is born. Bulgaria and studies Fine Arts.
1964 Couple move permanently to New York City.
1966 Air Package, Van Abbemuseum, Eindhoven, The Netherlands.
1972 Valley Curtain, Rifle Colorado 1968 Wrapped Medieval Tower and Wrapped Fountain located in Spoleto, Italy.
1976 The Running Fence, in Sonoma and Marin Counties, California. Around 2,000,000 sq. ft.
1977 In progress: The Mastaba in United Arab Emirates.
1978 Wrapped walk ways located in Kansas City, Missouri.
1983 Surrounded Islands. Located in Biscayne Bay, Miami, Florida.
1991 The Umbrellas. Blue located in Ibaraki, Japan. Yellow located in California, USA.
1998 Wrapped Trees. Located in Riehen, Switzerland.
1998 The Gates. Located in Central Park, NYC.
2009 Jeanne-Claude died November 18 in Manhattan, NY.