This essay tries to point out that Christo and Jeanne-Claude’s work deals with concepts of identity, gender and the performative, ideas which inform a great deal of the art that has been produced since the 1960s. These aspects in the work of the two artists have generally been overlooked due perhaps to the giganticism of many of their projects realized since the end of the 1960s, like “Wrapped Coast” (1968/69, Australia), “Valley Curtain” (1970/72 USA), “Surrounded Islands” (1980-83 USA), “Pont Neuf Wrapped” (1975/85, France), “Wrapped Reichstag” (1971-1995 Germany), or “The Gates” (2005 USA). Questions of identity, gender, and performance have not really been adressed in interpretations of Chisto and Jeanne-Claude's work. But at least since 2002 there are statements by Christo himself, which make clear that identity and gender have indeed been on his mind and that there also was quite early a link to Dada and Surrealism. In this respect it is certainly relevant that in 1963 Christo met Marcel Duchamp, who until 1968, the year of Duchamp’s death, remained a friend and supporter. Christo's wrappings imply the blurring of identities, they transform male forms into feminine forms, or even try to introduce the impression of the formless, a concept developed by George Bataille. The performative points in the same direction. The concept of performance will have to be modified and enlarged in the case of Christo and Jeanne-Claude, as ther performances are not bound to a specific time and location, for instance in a gallery or a theatre. The performances often extend over several years or even decades and imply the presence of the artists at numerous different locations. Here the aspect of politics comes into view. As their environmental installations involve public buildings and /or public spaces and often extend over huge distances , a considerable number of different interests (for instance those of the political authorities, private landowners, pressure groups, the media) have to be taken into account. Thus, political processes serve the aim of realizing a work of art, and not the other way round.
Table of Contents
1. Introduction
2. Questions of Identity
3. Aspects of Gender
4. The performative in the art Christo and Jeanne Claude
5. Conclusion:
Objectives and Themes
This essay explores the work of artists Christo and Jeanne-Claude through the lens of identity, gender, and performance. It seeks to challenge the common view of their projects as mere spectacles by arguing that their artistic practice incorporates Surrealist influences, questions societal power structures, and functions as an aesthetic discourse on what it means to be an artist in contemporary society.
- Analysis of identity crisis in early artistic career
- Exploration of gender and the "formless" in wrapped objects
- Feminist criticism and the representation of the body
- The role of political and social negotiation in performance art
Extract from the Book
1. Introduction
The following considerations try to point out that Christo and Jeanne-Claude’s work deals with concepts of identity, gender and the performative, ideas which inform a great deal of the art that has been produced since the 1960s. These aspects in the work of the two artists have generally been overlooked due perhaps to the giganticism of many of their projects realized since the end of the 1960s, like “Wrapped Coast” (1968/69, Australia), “Valley Curtain” (1970/72 USA), “Surrounded Islands” (1980-83 USA), “Pont Neuf Wrapped” (1975/85, France), “Wrapped Reichstag” (1971-1995 Germany), or “The Gates” (2005 USA).
If one tried to give an overview of the different interpretations which have been suggested so far with respect to Christo’s work in chronological order, one would encounter the French movement of Nouveau Réalisme, whose new realism, according to Pierre Restany, art critic and intellectual leader of the group, consisted of the presentation of corporeal reality in actual objects, rather than representations of them on canvas or in bronze (Bourdon 21). Although Christo has exhibited with the group, he never really was a Nouveau Réaliste, as he concealed the reality of objects and manipulated their function and identity.
In a more formalist approach Rosalind Krauss has tried to define Christo’s work as “sculpture in the expanded field”, in that he tried “to explore the possibilities of architecture plus not-architecture”, and by using the postmodernist technique of marking sites (Krauss 1979, 296). Indeed, Christo’s work is related to traditional genres of painting and sculpture, but he uses them in order to show that theses genres are insufficient or even obsolete in the contemporary world. That’s why one could say that at least in the case of Christo, Krauss failed to “look under the hood”, as she herself argued against art critics, who kept to the surface of works of art (Krauss 1999, 107).
Summary of Chapters
1. Introduction: Presents the central thesis that the work of Christo and Jeanne-Claude reflects complex concepts of identity and gender, often overshadowed by the sheer scale of their public installations.
2. Questions of Identity: Examines Christo's personal history as a refugee and how this individual experience of displacement manifested in his early "Inventory" of wrapped objects.
3. Aspects of Gender: Investigates the significance of gender in the artists' work, particularly through the lens of Surrealism and the "formless," while addressing feminist critiques of his early body-wrapping performances.
4. The performative in the art Christo and Jeanne Claude: Redefines performance art in the context of their monumental projects, focusing on the collaborative, documentary, and political dimensions of their work.
5. Conclusion:: Synthesizes the findings, framing their projects as ephemeral, political, and performative "installations" that invite the audience to engage with the present moment.
Keywords
Christo, Jeanne-Claude, Identity, Gender, Performative, Surrealism, Formless, Sculpture, Installation Art, Politics, Commodity, Wrapped Objects, Contemporary Art, Aesthetics, Public Space
Frequently Asked Questions
What is the primary focus of this research project?
The research explores the underlying concepts of identity, gender, and performativity within the artistic oeuvre of Christo and Jeanne-Claude, moving beyond formalist interpretations.
What are the central thematic pillars of the work?
The central themes include the artist's personal identity crisis, the application of Surrealist "formless" concepts to gender, and the socio-political implications of large-scale installation art.
How is the term "performance" applied to their art?
The essay argues that their art is performative because it involves the artists' presence and lobbying throughout the years-long realization process of a project, rather than being limited to a specific time or stage.
Which theoretical frameworks are used in the analysis?
The analysis utilizes theories from Rosalind Krauss regarding the "formless," Kristine Stiles's definitions of performance, and feminist critiques from authors like Laura Mulvey.
What is the role of the "formless" in Christo’s work?
The "formless" acts as a strategy to obscure traditional gender markers and disrupt the viewer’s ability to orient themselves within familiar environments, thus highlighting the fluidity of perception.
What does the book identify as the primary motivation for their large installations?
The installations are seen as metaphors for political freedom and as temporary experiences meant to disrupt the logic of the capitalist market, favoring communal experience over permanent commodity status.
How did Christo’s early life as a refugee influence his art?
His early "Inventory" of wrapped items is interpreted as an allegory for the displaced person and the state of the migrant, representing a condition of instability and loss.
Why are the early body-wrapping performances considered ambiguous?
They are considered ambiguous because, while intended to conceal the subject, they also inadvertently exposed bodies to the "male gaze," which makes them a frequent target for feminist critique.
How does the introduction of Jeanne-Claude as co-artist change the interpretation of their work?
Her inclusion signals a break with the traditional "lonesome male genius" model of art production and serves as an act of feminization within the art system itself.
- Arbeit zitieren
- Joachim Stark (Autor:in), 2006, Identity, gender and the performative in Christo and Jeanne-Claude’s work, München, GRIN Verlag, https://www.hausarbeiten.de/document/160917
