“All our work is about freedom”
The universe of Christo and Jeanne-Claude
The work of the artist couple Christo (born 1935) and Jeanne-Claude (1935–2009) resists categorization. It is a hybrid of art, urban planning, architecture, and engineering, but above all an aesthetic uniquely their own: surreal and ethereal environmental interventions that have graced monuments, public parks, and centers of power alike.
This compact book spans the complete career of the couple who were born on the very same day, met in Paris, fell in love, and became a creative team like no other. With rich illustration, it spans Christo and Jeanne-Claude’s earliest projects in the 1950s right through to The Floating Piers, to be installed at Lake Iseo, Italy, in 2016. The book celebrates all of the couple’s most famous environmental interventions, such as The Gates in New York’s Central Park and the Wrapped Reichstag in Berlin, while also featuring early drawings and family photos unknown to the wider public.
About the series:
Each book in TASCHEN’s Basic Art series features:
a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
a concise biography
approximately 100 illustrations with explanatory captions
Christo & Jeanne-Claude have worked in collaboration since 1961, and lived in New York City since 1964. Their large-scale projects include Wrapped Coast, Australia, 1968–69, Valley Curtain, Rifle, Colorado, 1970–72, Running Fence, Sonoma and Marin Counties, California, 1972–76, Surrounded Islands, Biscayne Bay, Florida, 1980–83, The Pont Neuf Wrapped, Paris, 1975–85, The Umbrellas, Japan–USA, 1984–91, Wrapped Reichstag, Berlin, 1971–95, Wrapped Trees, Riehen, Switzerland, 1997–98 and The Gates, Central Park, New York City, 1979-2005. Jeanne-Claude died in 2009.
Jacob Baal-Teshuva, born 1929, is author, critic and independent curator of museum shows. He studied at the Hebrew university in Jerusalem and New York University. His numerous publications include works on Marc Chagall, Alexander Calder, Jean-Michel Basquiat, Andy Warhol and Christo and Jeanne-Claude. Jacob Baal-Teshuva lives and works in New York and Paris.
Wolfgang Volz has worked with Christo and Jeanne-Claude as the exclusive photographer of their works since 1971. He was also project director (with Roland Specker) for Wrapped Reichstag and (with Josy Kraft) for Wrapped Trees, and was in charge of The Wall - 13,000 Oil Barrels, 1999. His close collaboration has resulted in many books and more than 300 exhibitions in museums and galleries around the world.
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这本书的封面设计真是引人注目,那种粗犷又带着某种仪式感的质感,一下子就把我拉进了某个宏大叙事的现场。我拿到手的时候,首先被那种厚重的纸张和精良的装帧吸引了,这感觉就像是在捧着一件艺术品,而不是一本单纯的书籍。内页的排版也非常考究,那种留白的处理,让我想起了某些现代主义的建筑设计,简洁而有力。虽然我还没有深入阅读文字部分,但光是浏览那些图片和设计草图,就已经能感受到一种强烈的、近乎偏执的对“形式”的追求。它似乎在探讨,如何将一个抽象的“想法”,通过时间和材料的约束,转化为一个触手可及的、震撼人心的“实体”。我尤其留意到其中几张早期概念图的风格,那种手绘的铅笔线条和不规则的几何图形的碰撞,流露出一种早期探索的蓬勃生机和不确定性,让人忍不住想去挖掘背后的创作心路历程。这本书给我的第一印象,是它不仅仅是一本关于“作品”的记录,更像是一部关于“意志力”的史诗,那种对抗自然、对抗既有规则的决心,似乎已经渗透进了纸张的纤维里。
评分这本书的语言风格非常具有感染力,它时而像一位经验丰富的老教授,用严谨的术语和清晰的逻辑来构建论点;时而又像一位深情的诗人,用充满想象力和隐喻的词汇来描绘那些转瞬即逝的视觉体验。这种在“理性分析”与“感性表达”之间的自由切换,让阅读体验充满了惊喜。我尤其喜欢其中穿插的一些轶事和引语,它们往往是简短却力量十足的,为那些庞大的、近乎抽象的项目注入了人性化的温度。它成功地将“工程学上的严密性”与“诗意上的浪漫主义”熔于一炉,构建了一个既能满足智识上的好奇心,又能慰藉审美上的渴望的独特文本空间。读完之后,感觉我的思维框架都被某种看不见的力量重新校准过,对“干预景观”这件事有了全新的、更具敬畏感的理解。
评分这本书对“尺度”的探讨达到了令人敬畏的程度。它不仅仅停留在记录那些作品在物理空间上的巨大,更深入地挖掘了“尺度感”如何影响观者的心理预期和感知结构。我记得其中一个章节详细分析了作品如何利用环境光线的变化来重塑人们对“体积”和“重量”的认知,那简直是一堂关于视觉心理学的生动案例分析。作者似乎非常擅长用精准而富有画面感的语言,去描绘那些稍纵即逝的瞬间——比如,当光线穿过特定材质时产生的微妙色彩偏移,或是风在特定结构中引发的低频共振。这种对细节的执着,让我意识到,真正的艺术往往隐藏在那些最容易被忽略的、介于“存在”与“虚无”之间的微妙地带。它挑战了我对“可见性”的传统理解,让我开始思考,一个事物在被移除或消失之后,它留下的“不在场证明”是否比它“在场”时更加有力。
评分我必须承认,这本书在学术深度上是相当可观的,它不满足于仅仅展示那些令人惊叹的“奇观”,而是毫不避讳地深入探讨了背后的经济、政治和社会影响。尤其是在讨论项目审批过程中涉及的法律条文、地方政府的博弈以及公众舆论的巨大反弹时,作者展现出了一种冷静而批判的笔触。这种对“过程”的审视,是极其宝贵的,它揭示了任何宏大设想在落地过程中所必须面对的重重阻力,那些被光环掩盖下的妥协、谈判和资源调配的艰辛。阅读这些部分时,我感觉到一股强烈的“现实主义”的重量压了下来,这使得整本书的论述更加立体和可信。它并非一味地赞颂,而是提供了一种审视艺术实践如何与现实世界复杂缠绕的独特视角。
评分这本书的叙事节奏把握得非常到位,它没有采用那种平铺直叙的传记式写法,而是采用了碎片化的、多重视角的交叉叙事。读起来就像是在一个巨大的、尚未完成的工地现场穿梭,时而是工程师的视角,精确到每一个桁架的受力分析;时而是哲学家的沉思,探讨着“边界”与“解放”的辩证关系;更有时,它会突然切换到当地居民的口吻,描述那些突如其来的“包裹”对他们日常生活的冲击和改变。这种叙事上的跳跃性,非但没有造成阅读上的障碍,反而营造出一种沉浸式的体验,仿佛我本人就置身于那些宏伟项目的筹备阶段,亲身感受着从一纸蓝图到尘土飞扬的现实转变过程中的巨大张力。尤其是一些关于“合作”与“冲突”的描述,那种对复杂人际动态的细腻捕捉,显示出作者在资料搜集上的深度和广度,绝非一般的蜻蜓点水可以比拟。
评分Taschen艺术科普打卡:No.1
评分Taschen艺术科普打卡:No.1
评分他们的每件大型艺术品都值得大书特书,但问题在于背后的意义,我宁愿希望目的不止在于为观众提供难得的美学体验。希望今后能读到这方面更深的阐述。
评分Taschen艺术科普打卡:No.1
评分他们的每件大型艺术品都值得大书特书,但问题在于背后的意义,我宁愿希望目的不止在于为观众提供难得的美学体验。希望今后能读到这方面更深的阐述。
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