Christo and Jeanne-Claude's Most Extraordinary Land Art

, Christo and Jeanne-Claude’s encasing of Germany’s parliamentary seat and an enduring synonym for German democracy and the site of national reunification, first began in 1971, but the ambitious work wasn’t realised however for some 24 years, finally being unveiled in 1995.demanded over a million square feet of aluminium-surfaced polypropylene cloth, trussed about with nearly ten miles of rope.

Serpentine archways of deepest saffron meandered over the knolls and valleys of New York’s Central Park for February 2005’s. 7,503 freestanding gates, all 16 feet high and varying in width from five to 18 feet, constituted no less than 23 miles of celebratory archway, creating quite the spectacle for onlookers. Meanwhile, great yellow sheets were suspended from the arches’ horizontal crossbars, blowing triumphantly in the wind as visitors to the park ambled through its famous footpaths.

The installation was implemented by Mayor Michael Bloomberg, long an admirer of Christo and Jeanne-Claude’s work, after decades of bureaucratic wrangling, and drew reference from traditional Japanese Torii gates, repeated vermillion entranceways constructed for Shinto shrines .repeated rectangular forms mimicked Manhattan itself, offering visitors a serene respite from the relentless island metropolis.

The Floating Piers on Italy’s Lake Iseo, Christo’s latest installation, was first imagined by he and Jeanne-Claude in 1970, and has become the first large-scale work to be authored by Christo alone following his wife’s death in 2009. It is perhaps their most spectacular work yet: 100,000 square metres of brilliant marigold cloth undulates over the lake’s surface, connecting the village of Sulzano with the islands of Monte Isola and San Paolo.

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