Christo, Corridor Store Front (Monuments)

Between 1964 and 1967, Christo created full-size architectural sculptures called “Store Fronts.” These works evolved from his earlier pieces, utilizing both interior and exterior spaces, resembling real architecture without being functional buildings. The enigmatic, curtained windows and closed entrances prevent viewers from seeing inside, creating a paradox of exterior presentation in an interior space. Christo’s “Store Fronts” explore the psychological and symbolic significance of windows, using old and new materials to evoke a century of architectural styles.

Christo’s Corridor Store Front from 1967, spans 139 square feet and invites viewers to walk through a narrow passage, only to encounter a glass pane at the end, denying them full spatial experience. This corridor exemplifies the complexity of Christo’s work, emphasizing the importance of physical interaction with the material. The paradox of inaccessible space heightens the viewer’s intrigue, much like his wrapped packages, which conceal yet suggest hidden contents. In 1968, Christo published a limited edition collage as part of the Monuments Portfolio. This collection of limited edition prints (including one collage and one multiple) was published in 1968 to help fund Christo’s Documenta participation.

Christo Javacheff, known simply as Christo, gained fame as part of the renowned artistic duo Christo and Jeanne-Claude, celebrated for their monumental installations using fabric or plastic. Their transformative projects, which include wrapping the Reichstag in Berlin, draping the Pont Neuf in Paris, and installing the Surrounded Islands in Biscayne Bay, Greater Miami, explored the interaction between man-made and natural environments, challenging public perceptions of familiar spaces. The duo emphasized the aesthetic impact of their artworks, temporarily altering landscapes to create new, ephemeral experiences that only persisted through the preparatory drawings, prints, and multiples that documented their projects. Christo and Jeanne-Claude’s art was designed to be transient, existing in a physical form for only a short period before being dismantled. Christo reflected on this aspect of their artwork by saying, “I think it takes much greater courage to create things to be gone than to create things that will remain.” This philosophy underscored the uniqueness of their collaborations, which remained central to Christo’s career even after Jeanne-Claude’s passing in 2009. Following her death, Christo continued to realize visions they had conceived together, such as The Mastaba in London’s Hyde Park in 2018. Born in Bulgaria in 1935 and passing in 2020, Christo’s legacy is profound, characterized by a dedication to crafting visually stunning and conceptually deep works that redefined public spaces and engaged audiences worldwide. His contributions to art extend beyond the physical installations to include prints and editions that capture the essence of their temporary creations, allowing the impact of their work to endure beyond its physical presence.