Christo and Jeanne-Claude in the Austin Museum of Art
The exhibition of the work by Christo and Jeanne-Claude in the Austin Museum of Art was organized such that the viewer experiences more tactile, abstract and free form work at the beginning, moving toward photographs of actual installations. The exhibition was from January 28, 2006 to April 30, 2006 but even after the exhibition, this review can provide further information about these dynamic artists.
The viewer encounters sculptural works initially. While these works may reflect the same aesthetic used in later installations, these works represent a lesser-seen aspect of the couple’s art. Wrapped oil barrels and dining room furniture set the stage for the remainder of the work. These small examples of work are effective for the beginning of the exhibit because they show, in actuality, the textures shown in later drawings, models, and photographs. They create a frame of reference through which to view the remainder of the work. This is also chronologically early work in Jeanne Claude and Christo’s career.
The next several rooms contain primarily drawings and assemblages. While from further away these seem to have almost photographic sense of realness, the art and skill employed to create them become apparent upon closer examination. Sketchy lines along with draftsmen’s lines create a resonance with the limited palette allowing for a strong impression to be made of the later impact of the work carried out on location. Also, the large scale of these works allows them to almost fill the viewer’s field of vision, enhancing that same impression.
After this, a model by Christo is shown, as well as a series of small 2-D works detailing the breadth of the couple’s work. The model also helps the viewer to assimilate the feelings that one would have for seeing the work in person. The scale of the model, including landscaping as well as the wrapped building, further continue to cultivate understanding of the magnitude of the larger installations.
A video and photographs are displayed last. The presentation of these works after the sculptures, drawings, and model allow for the viewer to understand what is taking place, and the textures, sights and feelings that would come if the viewer were at the site of the installation.
As a whole, the exhibit is effective at communicating its message about Christo and Jeanne-Claude’s artwork both as drawings and small-scale works. Many of these works were created in preparation for or as documentation of the large scale, outdoor installations, but they also have a certain aesthetic in their own sense. The large drawings, with the energized lines create a mood starkly separate from the precision in the scale models. The video and photographs serve to show a visitor the installation, but the museum experience is completely separate from, and does not try to imitate the experience of being actually at an installation.
Jeanne-Claude and Christo work together as a unit to create their beauty, attempting to create art for arts sake. After attending this exhibition, I would recommend anyone to see their work if given the opportunity.
