More Christo and Jeanne-Claude

Wrapped Trees, Fondation Beyeler and Berower Park, Riehen, Switzerland 1997-98

“The temporary large-scale environmental works (both urban and rural environments) have elements of painting, sculpture, architecture and urban planning.

For instance the Surrounded Islands, Biscayne Bay, Greater Miami, Florida,1980-83. could be seen as giant flat paintings (shaped canvases).

… Once the work of art has been read for what it really is, then the process preceding the completion is easily understood.

Nobody discusses a painting before it has been painted.

… But architecture and urban planning are always discussed before completion. People discuss the possibility of a new bridge, a new highway, a new airport before those are built..

Our projects are discussed and argued about, pro and con, before they are realized.

To understand our work one must realize what is inherent to each project.” – Christo and Jeanne Claude

Wrapped Walk Ways, Jacob Loose Park, Kansas City, 1977-78


Surrounded Islands, Miami, Florida 1980-83

Wrapped Coast, Little Bay, One Million Square Feet, Sydney, Australia 1968-69

Valley Curtain, Rifle, Colorado 1970-72

Ocean Front, Newport, Rhode Island, 1974

Wrapped Reichstag, Berlin 1971-95

Wrapped Fountain and Wrapped Tower, Spoleto, Italy 1968

The Wall, Wrapped Roman Wall Via Veneto and Villa Borghese, Rome, Italy 1974

5,600 Cubicmeter Package Documenta 4, Kassel, Germany, 1967-68

Running Fence, Sonoma and Marin Counties, California 1972-76

Museum of Contemporary Art, Chicago, Wrapped and Wrapped Floor and Stairway Chicago, 1968-69

The Umbrellas Japan – U.S.A. 1975-85

The Pont Neuf Wrapped, Paris 1975-85


Wrapped Monument to Vittorio Emanuele, Piazza Duomo, Milano, Italy, 1970

Christo and Jeanne-Claude were an artist couple that were both born on June 13, 1935. Christo studied at the Fine Arts Academy in Sofia and Jeanne-Claude went to school in France and Switzerland at the University of Tunis. They met in Paris in 1958 when Christo was commissioned to do a portrait of Jeanne-Claude’s mother.

Although their work was visually impressive and often controversial as a result of its scale, the artists have repeatedly denied that their projects contain any deeper meaning than their immediate aesthetic impact. The purpose of their art, they contend, is simply to create works of art or joy and beauty and to create new ways of seeing familiar landscapes.

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