The first I have to say about these two artists is that they're pretty odd. Apparently everytime they travelled overseas, they travelled in separate planes, so just in case one crashed, the other would probably have survived to continue their work. I thought this was pretty funny, but that aside, I'm here to talk about their artworks.
Basically they went around wrapping stuff and such... including one of their most iconic and significant works, none other than:
Wrapped Coast (1968-69)
I found that Christo and Jeanne-Claude's style of art was truly something that was worth exploring and intriguing despite its practically idiot-proof concept of wrapping items, but the environmental art they did had held possible deep meaning to the environment, and the fact that almost all the artworks the couple did together were big scale projects made their art all the more intriguing and appealing.
The temporal state of each project just never fails to remind us about the fragility of life and I truly find that one of the greatest and strongest messages that the couple had communicated through their works. Especially through this incident under their project Valley Curtain:
Basically they went around wrapping stuff and such... including one of their most iconic and significant works, none other than:
I found that Christo and Jeanne-Claude's style of art was truly something that was worth exploring and intriguing despite its practically idiot-proof concept of wrapping items, but the environmental art they did had held possible deep meaning to the environment, and the fact that almost all the artworks the couple did together were big scale projects made their art all the more intriguing and appealing.
The temporal state of each project just never fails to remind us about the fragility of life and I truly find that one of the greatest and strongest messages that the couple had communicated through their works. Especially through this incident under their project Valley Curtain:
Christo and Jeanne-Claude's first monumental project in the American landscape,Valley Curtain featured fabric that was non-containing, more dynamic, and freer. An enormous expanse of vivid orange nylon polyamide was installed between two mountains 1,250 feet apart to create an artificial barrier ranging from 182 to 365 feet in height. During the first installation, attempted in 1971, the curtain was damaged irreparably by winds. Christo and Jeanne-Claude quickly retrenched: the curtain and its moorings were redesigned, and engineers monitored wind velocities. The second attempt, executed on 10 August 1972, was successful, but unpredicted gale force winds arose and necessitated the curtain's removal after merely twenty-eight hours.Valley Curtain thus demonstrates the artists' determination to see their ideas through to completion. It also captures the essence of the large-scale projects: the installation is of vital importance, although the duration is finite; and the realized project remains in viewers' memories.
Valley Curtain, Grand Hogback, Rifle, Colorado, 1970-72
Also, one can certainly tell that the couple was not going around just wrapping things up or installing strange and out-of-place items in random nature areas. They seemed to have a purpose in their art, be it an environmental or social message, they made use of their profession as artists to continue relaying important messages through their sphere of influence and furthering it through their art on an international level. I think this selfless attitude they had which was reflected in their art was what made me look up to them more, and in conclusion I just wanted to say that it's not so much about the artwork itself, it's about the artists and their purposes.
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