This page was inspired by the show of Christo's work, and the article
in the Chronicle announcing it. The show was made possible by a friend
and collaborator when Christo was in CA.
Christo is one of my favorites due to the political
aspects of his work. But the Chronicle article didn't hint at any
It should be said that neither
Chron art critic, Baker nor Bonetti handled this one.
Right Hand Man"
Jesse Hamlin. "He (Golden) was moved by the sight of the fence,
the feeling of accomplishment, the movement and the
CHRISTO and Jeanne-Claude
and Jeanne-Claude Homepage
J. Fineberg, Art Since 1950)
"No artist has had a more sophisticated
understanding of political appropriation than Christo. His art relies
on the use of his subtle political insight, empowered by the sheer
visual beauty of his projects, to engage the public en masse in
a critical debate on values." (p 350)
"It is part of the complexity of meaning inn a Christo project
that it sets in bold relief all the mechanisms within a society
as each constituency attempts to appropriate the reality of Christo's
monumental, temporary work of art into its normal manner of functioning."
"Taken together, the fundamental irrationality of these situations
that Christo creates, the startling scale and presence of the work
in the theater of real events, and its disarming formal beauty prompt
nearly everyone to look with fresh eyes at themselves and at the
world around them. "The project is teasing society," Christo
explained, and society responds, in a way, as it responds in a very
normal situation like building bridges, or roads, or highways. What
we know is different is that all this energy is put to a fantastic
irrational purpose, and that is the essence of the work."
"The political and social forces so delicately interwoven into
Christo's process require an involved dialog with people at every
point. In the end, the realization of each project depends directly
on the outcome on that interaction."
J. Fineberg, Art Since 1950