Top 41 Quotes & Sayings by Christo

Explore popular quotes and sayings by a Bulgarian artist Christo.

Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park.

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Absolute Absolute Freedom Advance Afraid Airports Aliens Appears Arkansas Arrive Arrived Hide All Art Artist Artists Back Beaches Beautiful Beauty Beings Bigger Book Books Brought Build Building Buildings Bulgaria California Central Central Park Chamber Chamber Music Chances Chicago City Cold Cold War Collaboration Collage Collages Colorado Condition Contemporary Contemporary Art Convince Country Create Created Czechoslovakia Danger Days Decision Deliberately Describe Detail Difficult Dinosaurs Drawer Drawing Drawings Early Economic Energy Enjoy Entire Escaped Essential Established Europe Exception Exist Exists Expeditions Fabric Fabulous Fact Finishing Floor Forever Freedom Garbage Gates Germany Giant Grandiose Happened Hard Haven Heads Hearts Highways Historian Home Home Country Hope Human Human Being Human Beings Idea Ideas Identity Illegal Illegal Aliens Image Important Indoor Inside Involves Islands Japan Leisure Life Likes Living Long Lots Lower Machines Made Maintained Majority Make Manhattan Meaning Meet Midget Miles Monumental Move Moved Muscle Museum Museums Music Negotiations New People New York New York City Nice November Obliged Original Page Paris Park Partnership People Permanent Permission Permit Person Photographs Place Political Postcards Posters Precedent Presence Principle Process Project Projection Projects Proposal Proposed Real Real World Realized Refused Related Remain Remember Remove Residence Restore Reveal Risk River Royalties Sad Same Thing Scream Sell Show Side Simple Skyline Slightest Soho Sold Specialty Standards Started Starting State Stay Story Surrounded Takes Talk Technical The Real World Thing Things Thousand Thousand Years Thousands Three Years Through The Years Time Today Tons Total Total Freedom Two Heads Two Hearts Understand Unique Unusual Vague Very Nice Vision Visualize Vividly Walk Walkways Wanted War West Windows Work Workers Working Works World Wrap Wrapped Written Years York Young Less More Hide All See All
But now, today, we don't know if Over the River is truly the next project to be realized, because something very nice happened to our life in November in New York.
I do a lot of work that's permanent. The drawings, the sculptures, they're permanent.
Our work is a scream of freedom. — © Christo
Our work is a scream of freedom.
People think our work is monumental because it's art, but human beings do much bigger things: they build giant airports, highways for thousands of miles, much, much bigger than what we create.
We are probably the only artists in the world who have a 2,000-page book on a work of art that doesn't exist. But in this way, these projects reveal their identity through this whole process. When I'm starting, I only have the slightest idea of how the work of art will exist.
That could stay, not forever, because we believe that nothing exists that is forever, not even the dinosaurs, but if well maintained, it could remain for four to five thousand years. And that is definitely not forever.
But the drawings are not created only to be sold.
And for every project, because it takes years, you can see the early drawings and collages as just a simple, vague idea, and through the years and through the negotiations of getting the permit, you see that every detail is now clarified.
The other exception where we did not at all restore the place to its original condition is the Surrounded Islands. Before we installed our fabric, we had our workers remove 42 tons of garbage off the beaches of those islands. We never brought the garbage back.
And the most unusual and surrealistic place in New York City is Central Park.
You see, we are not machines and we do not have lots of ideas in a drawer.
It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.
Some of the projects we've proposed over the years have been refused. But we never do other people's ideas; our ideas come out of our two hearts and our two heads. — © Christo
Some of the projects we've proposed over the years have been refused. But we never do other people's ideas; our ideas come out of our two hearts and our two heads.
In 1964, Jeanne-Claude and I became illegal aliens. That's when we moved here from Paris. And for three years, we were illegal aliens living in an illegal building. At that time, some artists started to move to SoHo, and they put A.I.R. - artists-in-residence - up on their windows.
It is not only one person's work, it's really a partnership and collaboration during all these years.
In 1964, when we first arrived in New York City, I remember vividly seeing the skyline of Manhattan, and our first proposal of 1964 was to wrap two lower Manhattan buildings. We never got permission.
We don't sell technical drawings except when they are incorporated into a drawing or a collage.
We tell them that we believe it will be beautiful because that is our specialty, we only create joy and beauty. We have never done a sad work. Through the drawings, we hope a majority will be able to visualize it.
The decision to use only the name Christo was made deliberately when we were young because it is difficult for one artist to get established and we wanted to put all the chances on our side.
Now, to describe the process of the Wrapped Reichstag, which went from 1971 to '95, there is an entire book about that, because each one of our projects has its own book. The book is not an art book, meaning it's not written by an art historian.
Every artist in the world likes his or her work to make people think.
It appears to be monumental only because it's art.
All our projects are like fabulous expeditions. The story of each project is unique. Our projects have no precedent.
The freedom of every artist is essential.
We never work on only one project because we never know if we will get permission for a project. So, for 'Over the River,' we started in 1992. I was just finishing 'The Umbrellas' in Japan and California, and I was also working on getting permission to wrap the Reichstag.
Often the art in New York is related to the buildings, to grandiose things.
New York is our home.
Therefore, when we arrive in a place and talk to new people about a new image, it is very hard for them to visualize it. That's where the drawings are very important, because at least we can show a projection of what we believe it will look like.
Because we do not sell photographs, we have no royalties on books, posters, postcards. — © Christo
Because we do not sell photographs, we have no royalties on books, posters, postcards.
And for me, the real world involves everything: risk, danger, beauty, energy, all we meet with in the real world.
We have created indoor installations inside museums, like the Wrapped Floor at the Museum of Contemporary Art in Chicago in 1968, and not monumental at all by any standards.
The only place where people in Manhattan walk for leisure is in the park.
Therefore we have to go over the fact that all human beings are afraid by what is new. It is our work to convince them that they will enjoy it, and even if they don't, to allow us just for 14 days to create that work of art.
To keep that absolute freedom we cannot be obliged to anyone.
If some of our works are symphonies, then wrapped walkways was chamber music.
Germany is an economic giant but a political midget, and with the end of the Cold War she has started to muscle her presence throughout Europe and the world.
The work of art is a scream of freedom.
Now, there is no way to say how long some projects take, that's our principle.
I escaped from my home country, Bulgaria, to Czechoslovakia and then to the West. — © Christo
I escaped from my home country, Bulgaria, to Czechoslovakia and then to the West.
The other work we started in 1992, it is called Over the River, Project for the Arkansas River in the state of Colorado, we haven't got the permit yet. And, we are working at both of those, trying to get the permit. Therefore, we do not know which one will be realized next.
We wish to work in total freedom.
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