CHRISTO and Jeanne-Claude | The Gates, Central Park, New York City, 1979-2005 | Taschen Verlag, 2005 | Rare book

CHRISTO and Jeanne-Claude | The Gates, Central Park, New York City, 1979-2005 | Taschen Verlag, 2005 | Rare book | tobeArt Bookstore

rare illustrated books - artists' books

CHRISTO and Jeanne-Claude : The Gates, Central Park, New York City, 1979-2005. Köln, Taschen Verlag, 2005.

[CHRISTO and Jeanne-Claude] - Wolfgang Volz.

The Gates, Central Park, New York City, 1979-2005.

Bibliographical data

Cologne, Taschen GmbH, 2005, hardcover in a slipcase, 968 pp., (29 x 30.3 x 7.5 cm).

Collector's edition limited to 5,000 copies numbered (No. 3460) and signed by Christo, Jeanne-Claude, and Wolfgang Volz, including an original piece of fabric.

This Special Edition retraces the entire project from conception to completion. Designed by Christo and Jeanne-Claude, featuring texts by Jonathan Henery and images by exclusive photographer Wolfgang Volz, it serves as an ideal and lasting memento of this remarkable work of art. Each copy contains a 24 x 24 cm piece of the original fabric used for the project and includes around one hundred preparatory drawings and collages, as well as 900 key documents, technical specs and drawings, maps, and 1,441 photographs taken from 1979 to 2005.

Condition

As new (the transport cardboard case shows minor signs of use)

Price

850 € >>> Order

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email : librairie.tobeart@free.fr

CHRISTO and Jeanne-Claude: The Gates, Central Park, New York City, 1979-2005.

Chief Engineer and Construction Director: Vince Davenport
Project Director: Jonita Davenport
Exclusive Photographer: Wolfgang Volz (has worked with Christo and Jeanne-Claude since 1971. He was project director (with Roland Specker) for the Wrapped Reichstag and (with Josy Kraft) for Wrapped Trees; he was also responsible for The Wall, 13,000 Oil Barrels, in 1999, and Big Air Package, Gasometer Oberhausen, in 2013. He is the exclusive photographer of Christo and Jeanne-Claude's works. This close collaboration has resulted in numerous books and more than 300 exhibitions in museums and galleries worldwide).

The installation in Central Park was completed by unfurling 7,503 fabric panels on February 12, 2005. The 7,503 gates stood 4.87 meters high and varied from 1.68 m to 5.48 meters wide according to the 25 different widths of the walkways, across 37 kilometers of walkways in Central Park. Saffron-colored fabric panels, suspended from the horizontal upper part of the gates, dropped down to about 2.13 meters above the ground. The gates were spaced 3.65 meters apart, except where low branches extended over the paths. The gates and fabric panels could be seen from afar through the leafless branches of the trees. The work of art remained for 16 days, after which the gates were removed and the materials recycled.

The 12.7 cm square vertical and horizontal poles were extruded from 96.5 km of saffron-colored vinyl. The vertical poles were secured by 15,006 fine steel base weights, ranging from 278 to 380 kilograms each, positioned on the paved surfaces. No holes were made in the ground. The gate components were manufactured off-site by seven manufacturers located on the East Coast of the United States. The weaving and sewing of the fabric panels were completed in Germany.

Working in teams of eight, 600 workers wearing The Gates uniforms were responsible for installing 100 gates per team. The monitoring and removal teams included 300 workers, also in uniform. They assisted the crews and provided information. All workers were financially compensated and received breakfast and one hot meal per day. Professional security patrolled the park after dark.

The Gates was entirely financed by Christo and Jeanne-Claude, just as they had done for all their previous projects. The artists do not accept sponsorships or donations.

The grid structure of the city buildings surrounding Central Park was reflected in the rectangular structure of the saffron-colored poles, while the serpentine shapes of the walkways and the organic forms of the bare tree branches were reflected in the continuous, supple, and sensual movements of the fabric panels flowing in the wind.

New York residents continued to use the park as usual. For those walking through The Gates, the saffron-colored fabric acted like a golden ceiling creating warm shadows. Seen from the buildings surrounding Central Park, The Gates appeared to be a golden river appearing and disappearing through the bare branches of the trees, highlighting the shape of the winding paths.

(Text extracted from the website Christo & Jeanne-Claude)

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