MetroPrio
Continued thoughts...
as below and attached
In the footsteps of Christo...
As the MetroPrio 'wrap' is our own invention as homage to the artist/s 'Christo' we have tried to follow in the footsteps of the Christo creation process as much as possible utilizing elements such as; Theme, Purpose, Method, Materials and funding processes. Knowing however; as this is our initiative, we can make and break the rules as we see fit.
Why this installation.
Many, if not all of the Christo themes revolve around the ambient length of the installations viewing.
Our themes have included that, also transposing these themes onto every student who participates or would be of benefit to the value of the 'D214 Fund the Future' art fund which this celebrates, current and/or future.
In a temporary world, our choices, temporary or not, seek to last beyond their temporary nature.
Thus, in parallel with this (truly to be left for as interpretation, but ok, here goes...) the temporary nature is the time of the installation, 24 hours. The non-temp time, allows for every artistic illusion or realization beyond that. This is an important point to communicate, especially to artists, and even more especially doing something as 'homage' to an existing artist tapping in to their repertoire.
“Once wrapped, the objects would take on a new identity. By wrapping them, he would reveal some of the most basic features and proportions of the object by concealing the actual item.”
In the case of the installation, there are elements of the 'wrap' but in OUR definition, the 'wrap' is more of a kinetic connection illustrating block pile theory's ability to rapidly implement strategy as ongoing intent using the fewest moves possible, this installation a true realization of those thoughts.
The 'core' of the art and the biggest point to be made is for the young artist/s to realize the powerful connection which might be achieved through the artists personal connection to their works, reflectively juxtaposing that against society and the artists own perceived future. Their parents and everyone in attendance, and the pictures afterward will remain things to reflect upon, long after the installation goes away. This preserves Christo. Even though we are not wrapping it entirely, by changing the environment, also also preserve this nature. Something the Christo's did not do is add into their art the art of protest. As some of their installations are quite massive (sometimes surrounding islands) there become any number of public interest groups to counter such efforts. Being as non-polarizing, while as artistic as possible, this leads to future 'student/teacher discussions on the nature, cause, and ramifications of such formal protests. Having more time, we could have established a 'mock' student consumer interest group to 'counter' the installation, then challenge the artists (in training) to develop counter-moves/strategies to 'win them over' still preserving artistic integrity. We still can, this as the benefit of art study. BTW, in dropping off our concept at City Hall, there was a nice overwhelming of pictures from the 'Arlington Photo Club.' Perhaps we can ask some of their key people if they would be willing to document a historic, artistic event.
Rather than 'wrapping' the entire building (again Block Pile) by 'connecting' the banner posts, like a circuit, and touching the building, now it becomes outside in/inside out...Everything Connects. We were entertaining some type of lighting that would show both ends of the building are connected by creating an actual circuit that once connected, illuminates the fabric. That would be cool. We are being aware of time, and there are too many safety issues to consider. The thought is there and
preserved interpretatively.
Why wrapping? Why fabric?
When Christo began to wrap objects in 1958, he used everyday objects such as shoes, telephones and empty paint cans to make his sculptures. Once wrapped, the objects would take on a new identity. By wrapping them, he would reveal some of the most basic features and proportions of the object by concealing the actual item. Christo and Jeanne-Claude later expanded this idea in projects such as The Pont Neuf Wrapped and the Wrapped Reichstag, but on a much larger scale. While the intricate details of the structures are hidden, the essence of the structures are revealed all the while making the imposing and solid structure seem airy and nomadic. The use of real fabric also gives the work a fragile, sensual and temporary character while wrapping objects is definitely an important part of their œuvre, Christo and Jeanne-Claude have done very few wrappings in comparison to their whole portfolio of artworks. It is easier for some to grasp the wrapping concept and refer to their artworks entirely as "wrapping," but the work is more about altering an environment than wrapping – which is only one way to do that. The last time the artists had an idea for a wrapping was in 1975, when they had the idea of wrapping the Pont-Neuf in Paris, ten years before they realized the work of art.
(source: https://christojeanneclaude.net/faq)
Why are their works so big? What's the point?
Christo and Jeanne-Claude's works are entire environments, whether they are urban or rural. The artists temporarily use one part of the environment. In doing so, we see and perceive the whole environment with new eyes and a new consciousness. The effect lasts longer than the actual work of art. Years after every physical trace has been removed and the materials recycled, original visitors can still see and feel them in their minds when they return to the sites of the artworks.
