In 1920, Man Ray wrapped a sewing machine in material and tied it with string. In a similar Surrealist spirit, Chirsto developed his idea to make art of objects, enigmatically packaged and wrapped. In the 1960s, he expanded his artistic ambitions to include the wrapping of public buildings. His out-sized, dramatic projects were recognised as a significant contribution to a period when ' Happenings had taken art beyond the modernist arena.
They are most notably described as environmental artists because they work in both the rural and the urban environment however, never in deserted sites. They always create their works in sites already prepared and used by people, managed by human beings for human beings. Christo and Jeanne- Claude attempt to “create works of art of joy and beauty, which we will build because we believe it will be beautiful. The only way to see it is to build it. Like every artist, every true artist, we create them for us”.
The actual installation of the projects is described as the “hardware” part of their work, the preparation being the “software.” The “hardware” part of the work is very ephemeral. This greatly affects the impact because there becomes an urgency to view it.
To understand their work one must realise what is inherent to each project. There is an important difference between their works of art and the usual architecture and urban planning, they are our own sponsors and they pay for their works of art with their own money, never accepting any grants nor sponsors. A conception on a paper is not Christo and Jeanne-Claude's idea of art. They want to build their projects – want to SEE their project realised because they believe it will be a work of art of joy and beauty.
They are most notably described as environmental artists because they work in both the rural and the urban environment however, never in deserted sites. They always create their works in sites already prepared and used by people, managed by human beings for human beings. Christo and Jeanne- Claude attempt to “create works of art of joy and beauty, which we will build because we believe it will be beautiful. The only way to see it is to build it. Like every artist, every true artist, we create them for us”.
The actual installation of the projects is described as the “hardware” part of their work, the preparation being the “software.” The “hardware” part of the work is very ephemeral. This greatly affects the impact because there becomes an urgency to view it.
To understand their work one must realise what is inherent to each project. There is an important difference between their works of art and the usual architecture and urban planning, they are our own sponsors and they pay for their works of art with their own money, never accepting any grants nor sponsors. A conception on a paper is not Christo and Jeanne-Claude's idea of art. They want to build their projects – want to SEE their project realised because they believe it will be a work of art of joy and beauty.