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Accessibility and Democracy: the Pol...

Finan, Emily.

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Accessibility and Democracy: the Politics of Christo and Jeanne-Claude's Architectural Installations.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Accessibility and Democracy: the Politics of Christo and Jeanne-Claude's Architectural Installations./
Author:	Finan, Emily.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	50 p.
Notes:	Source: Masters Abstracts International, Volume: 82-02.
Contained By:	Masters Abstracts International82-02.
Subject:	Art history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27958778
ISBN:	9798662469419

Accessibility and Democracy: the Politics of Christo and Jeanne-Claude's Architectural Installations.
Finan, Emily.

Accessibility and Democracy: the Politics of Christo and Jeanne-Claude's Architectural Installations. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 50 p.

Source: Masters Abstracts International, Volume: 82-02.

Thesis (M.A.)--State University of New York at Stony Brook, 2020.

This item must not be sold to any third party vendors.

While Christo and Jeanne-Claude's artworks are typically heralded for their beauty, this thesis reframes the artists' architecturally-scaled projects by outlining how their aesthetic focus and tactics of social engagement serve instead as political strategies for making fine art more accessible. Tracing their evolving understanding of accessibility from their early private gallery installations, Storefronts (1964-68), to their later urban public projects-Surrounded Islands (1980-83), Wrapped Reichstag (1971-95), and The Gates (1979-2005)-highlights how the couple introduced and expanded engagement to transform passive spectators into active participants by inviting movement, collaboration, conversations about art history, and recognition of daily aesthetic possibilities on an increasingly large scale. Their inclusion in Public, Land, and New Genre Public Art discourses are, thus, necessarily renegotiated; the artists' statements are employed alongside analyses of their deviations from such contemporary movements in order to reveal how their efforts to create a new participatory public are rooted in Christo's subjective experiences with totalitarianism, socialism, and migration that, in turn, shaped the couple's distinct understanding of what public art should be: democratic, free, unifying, and engaged in local and global issues. In resisting labels, the couple's unique social activism ultimately underscores how the art historical practice of categorization often confines multifaceted motivations to reductive narratives.

ISBN: 9798662469419Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Christo and Jeanne-Claude

Accessibility and Democracy: the Politics of Christo and Jeanne-Claude's Architectural Installations.
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245 1 0 $a Accessibility and Democracy: the Politics of Christo and Jeanne-Claude's Architectural Installations.
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300 $a 50 p.
500 $a Source: Masters Abstracts International, Volume: 82-02.
500 $a Advisor: Siegel, Katy;Uroskie, Andrew V.
502 $a Thesis (M.A.)--State University of New York at Stony Brook, 2020.
506 $a This item must not be sold to any third party vendors.
520 $a While Christo and Jeanne-Claude's artworks are typically heralded for their beauty, this thesis reframes the artists' architecturally-scaled projects by outlining how their aesthetic focus and tactics of social engagement serve instead as political strategies for making fine art more accessible. Tracing their evolving understanding of accessibility from their early private gallery installations, Storefronts (1964-68), to their later urban public projects-Surrounded Islands (1980-83), Wrapped Reichstag (1971-95), and The Gates (1979-2005)-highlights how the couple introduced and expanded engagement to transform passive spectators into active participants by inviting movement, collaboration, conversations about art history, and recognition of daily aesthetic possibilities on an increasingly large scale. Their inclusion in Public, Land, and New Genre Public Art discourses are, thus, necessarily renegotiated; the artists' statements are employed alongside analyses of their deviations from such contemporary movements in order to reveal how their efforts to create a new participatory public are rooted in Christo's subjective experiences with totalitarianism, socialism, and migration that, in turn, shaped the couple's distinct understanding of what public art should be: democratic, free, unifying, and engaged in local and global issues. In resisting labels, the couple's unique social activism ultimately underscores how the art historical practice of categorization often confines multifaceted motivations to reductive narratives.
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