Project 3, Research point 4: Wrapped Trees, Kusama, Bouroullec and Straub

Wrapped Trees

Copyright: Wolfgang Volz, ©Christo 1998

Copyright: Wolfgang Volz, ©Christo 1998

  • Starting on Friday, November 13, 1998, 178 trees were wrapped with 592,015 square feet (55,000 square meters) of woven polyester fabric (used every winter in Japan to protect trees from frost and heavy snow) and 14.3 miles (23 kilometers) of rope. The wrapping was completed on November 22. The trees are located in the park around the Fondation Beyeler and in the adjacent meadow as well as along the creek of Berower Park, northeast of Basel, at the German border. The height of the trees varied between 82 feet (25 meters) and 6.5 feet (2 meters) with a diameter from 47.5 feet (14.5 meters) to 3.3 feet (1 meter). [http://christojeanneclaude.net/projects/wrapped-trees?view=info — consulted 7 August 2017]
     
  • The wrapping was removed after a month and the materials recycled. The artists also approached the cities of St. Louis, MO and Paris concerning additional wrapping projects but were denied permission.
  • After reading the quote again in its proper context on the website (that is, it applies to all of Christo and Jeanne-Claude's projects, not just the Wrapped Trees), I can appreciate the focus on the use and properties of textiles rather than on a particular technique. The two use their materials to create and enhance temporarily, large-scale structural forms, some of which exist already and others that are revealed by the application of the textile and its particular properties.

Yayoi Kusama

Yayoi Kusama,  Dots Obsession, Infinity mirrored Room , 1998. Installation. Les Abattoirs, Tolosa

Yayoi Kusama, Dots Obsession, Infinity mirrored Room, 1998. Installation. Les Abattoirs, Tolosa

  • Art
  • Temporary
  • Large scale
  • Defining and Forming
  • Immersive
  • Pattern, Colour and Repetition

Ronan and Erwan Bouroullec

Installation view, Bivouac, Centre Pompidou-Metz, France October 7, 2011 - July 30, 2012 Photo © studio Bouroullec

Installation view, Bivouac, Centre Pompidou-Metz, France
October 7, 2011 - July 30, 2012
Photo © studio Bouroullec

  • Art
  • Permanent
  • Large-scale
  • Transforming
  • Immersive and Distant
  • Pattern, Colour and Shape

Marianne Straub

Woven, 1949, British; Straub, Marianne for Helios Ltd. "Brisbane"

Woven, 1949, British; Straub, Marianne for Helios Ltd. "Brisbane"

Marianne Straub OBE (23 September 1909 – 8 November 1994) was one of the leading commercial designers of textiles in Britain in the period from the 1940s to 1960s. She said her overriding aim was: "to design things which people could afford. ... To remain a handweaver did not seem satisfactory in this age of mass-production." [Wikipedia, consulted 7 August 2017]

  • Design
  • Permanent
  • Small-scale
  • Defining
  • Immersive
  • Pattern, Colour and Repetition

Project 3, Research point 3: Christo and Jeanne-Claude

  • The scale of the Surrounded Islands project is impressive. And although the work appears to be simple in concept (surround 11 islands with "floating pink woven polypropylene fabric") it is clear that an enormous amount of imagination, planning, logistical support and money went into the project.
  • "The luminous pink color of the shiny fabric was in harmony with the tropical vegetation of the uninhabited verdant islands, the light of the Miami sky and the colors of the shallow waters of Biscayne Bay." This is all true, but the shade of pink also reminded me of the art deco-revival pink that was often associated with Miami in the 1980s. As just one example, the visual design of the TV show Miami Vice (1984–1990) frequently drew on the same palette:
  • The other item that caught my attention when reading about this installation had to do with the issue of impact on the environment. I wondered about the impact on the bay's wildlife, but did not expect to learn that the local flora and fauna were probably in better shape after the installation than before it. Not only did the artists exercise due diligence with a marine biologist, ornithologists and a mammal expert, but they also removed "some forty tons of varied garbage that included refrigerator doors, tires, kitchen sinks, mattresses and an abandoned boat." My expectations were entirely wrong.
  • I agree with the assessment of the Surrounded Islands project: it is a temporary, large-scale art installation that defines a series of islands by shape (although the role of striking colour should not be undervalued) and meant to be viewed at a distance.