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The Floating Piers was first conceived by Christo and Jeanne-Claude in 1970. It was Christo's first large-scale project since Christo and Jeanne-Claude realized The Gates in 2005, and since Jeanne-Claude passed away in 2009. As with all of Christo and Jeanne-Claude's projects, The Floating Piers was funded entirely through the sale of Christo's ...
Films. Life and Work. Publications. Current & Upcoming. Exhibitions 1961–2023. Official website of artists Christo and Jeanne-Claude. Features photographs and texts about all major projects, early works, and works in progress. Includes biographical and bibliographical information as well as past, current, and upcoming exhibitions.
Official website of artists Christo and Jeanne-Claude. Features photographs and texts about all major projects, early works, and works in progress. Includes biographical and bibliographical information as well as past, current, and upcoming exhibitions.
The Floating Piers was first conceived by Christo and Jeanne-Claude in 1970. It was Christo's first large-scale project since Christo and Jeanne-Claude realized The Gates in 2005, and since Jeanne-Claude passed away in 2009. As with all of Christo and Jeanne-Claude's projects, The Floating Piers was funded entirely through the sale of Christo's ...
19. Juni 2018 · Along with his late wife Jeanne-Claude, Christo has spent the last 57 years repeatedly redefining the parameters of installation and land art, creating a body of work that defies categorization and recognizes no limit to possibility. Using cheap, commonplace materials—fabric, tape, plastic—and with a practice supported via the sale of ...
Christo (Gabrovo 13.6.1935–31.5.2020 New York) war ein bulgarischstämmiger Künstler der Land Art. Ab 1958 arbeitete er mit Jeanne-Claude an großen Installationen im öffentlichen Raum. Kurz danach schloss er sich der Gruppe „Nouveau Réalisme [Neuer Realismus]“ an, gleichwohl er nie offizielles Mitglied war.
For Christo and Jeanne-Claude, the temporary nature of this and other projects was important because it challenged people’s belief in the immortality of art. Interviewed at the time, Christo compared the temporary nature of the wrapped Reichstag to the tents used by nomadic tribesmen, quickly erected and equally quickly removed, and to the transience of life itself. ‘It is a kind of ...