Twelve identical cubes and twelve identical cylinders of gold-plated steel. They are rearrangeable.
This abstract sculpture of rearrangeable cubes and cylinders is meant to be participatory--rearrangeable by the viewer to any desired configuration. The subject matter is the sculptural form but also the interaction between artist, audience, and art object.
Three plastic long-stemmed red roses wrapped in thick transparent polyethylene, tied with twine, ends stapled
Wrapping something in plastic is usually meant to preserve or protect it; however, in “Wrapped Roses” Christo wraps something made of plastic in more plastic. Throughout his career, Christo, with collaborator Jeanne-Claude, has wrapped numerous items in cloth or plastic, including small boxes, furniture, even buildings. The artists deny that their projects contain any deeper meaning than their immediate aesthetic, contending that the purpose of their art is to simply create new ways of seeing familiar objects.
Signed in pencil, l.r.: 87/100 Christo Printed in plate, l.l. - l.r.: THE MUSEUM OF MODERN ART - WRAPPED (PROJECT FOR THE MUSEUM OF MODERN ART - NEW YORK, JUNE 1968) Stamped into paper, l.l.: (see object file for complete inscription) In pencil on verso, l.r.: A 723 $300 l.l.: CJ 71192 / #404 Stamped on verso, l.l.: COPYRIGHT / LANDFALL PRESS, INC. / 63 W. ONTARIO STREET / CHICAGO, ILL. 60610.
The background of this print is covered with whitish paint or gesso that reveals the texture of the canvas, brush, and its application. Where material has been applied to the canvas there are small wrinkles. Dashes of black paint appear on the lower two thirds of the collage. What looks like a signature is in the bottom left.
Horizontal landscape of a misty harbor view with several small boats in distance near center
Quickly executed oil sketch depicting Jamaica Bay, a shallow inlet of the Atlantic on the southwestern shore of Long Island between the New York City boroughs of Brooklyn and Queens.
While the simplicity of the composition may arise from the informal nature of the sketch itself, it also reflects the shift in taste at that time away from the elaborate, minutely detailed, and geographically specific landscapes for which Church is best known.