Steampunk Interior

Nice minimal steampunk interior. Don’t imagine they sell much there tho.

Mid Century Modern

Classic material like your girl’s venerial.

Office Space

One of the Chanel offices. Looks comfy and distinguished. Selby da don.

Traphouse – Treehouse

Where I keep the stash at.

Jean Claude And Christo – Negotiation

the wall -gasometer

monolithic oil drum installation

jean claude & christo’s website

With Hirst circumventing the gallery and going straight to auction, Murakami going head first into luxury brand dissemination of work, and sneaker companies hiring every graffiti writer I know, today’s artist sees a conscious shift in how commerce interacts with 1) the work, and 2) the artist as BRAND 3)gallery as (home furnishing)store.

Two legendary artists who remain entirely outside of white walls that confine & confuse many(thanks a lot postmodernism & abstract shite) are Jean Claude & Christo. You’ve probably heard of their art. You may have walked through their gates in Central Park. But the historical scope & financial aspects of their ephemeral installations are the thing that escaped me until I heard them speak of their work at the ICA a few weeks ago.

All their artwork is SELF FUNDED and the realization of their projects reflects fundamental changes in politics & economics. Christo does the preparatory sketches for the project on the top floor of the same manhattan loft they’ve lived in since the 1960s- where a young Philip Glass installed their plumbing. They pay for the rental of the site, all the processing & legal fees & meetings for the project to be approved.. every last red cent. They sell the preparatory sketches to their benefactors to generate these funds, and give the world these giant installations.   This is where Wu-tang got their idea(maybe) to hustle the first run of 12″ for Protect ya Neck out the trunk until they could broker groundbreaking deals with multiple labels.

When i say that the works & their process reflect fundamental changes in politics & economics, it means that each single installation must win approval of the government & the landowners of its particular setting. When they wanted to wrap up the Reichstag, they had to convince German Chancellor Gerhard Schröder(as well as the entire structure below him) that their manifested daydream somehow made sense and would be a public good. Pragmatic politicians are notoriously hard to convince of the worth of art -especially abstracted giant public works. It took 9/11 and the election of Bloomberg to see the Gates in Central Park to fruition – a project that started in the late 1960′s. That scope of decades to execute art is lost in today’s immediate gratification culture, where trend cycles & public attention has diminished to a infinitely small point.

As artists, they perfectly meld modernism with social critique. As people, they are  pure in mind and purpose. We hold artists(and some designers bridge this gap as well) to be the dreamers of society and I am thankful to have learned from these two through the ICA. I just wanted to write something from a former skeptic who now believes fully in what they do. So is the transformative nature of art.

A couple more peculiarities:
They were born on the same day at the same time.
They only sign their work.
Jean Claude only became an artist out of love for Christo. Had he become a dentist, she would have become a dentist.
They only discuss their work and cannot comment on any other artist.
They allow others to help build these creations. You can sign up at their website.

Here’s a link to the Harvard Business School x ICA event I attended , which was the catalyst for my change in opinion.