Christo and Jeanne-Claude: Over The River

Anti-Christo ad upsets groups

source: Copyright © 2006 The Cañon City Daily Record

Anti-Christo ad upsets groups

Debbie Bell
The Daily Record

An artist’s rendering of the proposed ‘Over The River’ project, which would cover a portion of the Arkansas River west of Cañon City in 2010 if approved. An ad listing groups opposed to the project upset a few organizations.
Courtesy Wolfgang Volz

If the proposed “Over the River” project was not controversial enough already, an ad placed in the Cañon City Daily Record by a group opposing the plan stirred the pot to create an explosion of heated debate.

Rags Over the Arkansas River, Inc., placed and paid for an advertisement in the Aug. 4 edition that in-cluded a list of organizations it claimed expressed opposition to the project.

ROAR was formed to fight the project by international artists Christo and Jeanne-Claude, who propose to drape fabric over a portion of the Arkansas River west of Cañon City around 2010.

At least two of the organizations listed in the ad have demanded retractions, claiming they have no official position on the project. But the president of ROAR said the groups have gone on public record with opposition to the project, and he can’t understand why they are contesting the ad.

“When somebody says something, then I think they’re going to stand behind it,” said ROAR President Dan Ainsworth. “I’m one of those people who mean what you say and say what you mean.”

Ainsworth said the two groups demanding retraction, Deer Mountain Fire Protection District and Arkansas Valley Audubon Society, are actually on public record as being opposed to the project. He said he and Cathey Young, another ROAR member, have personally viewed letters the organizations sent to the Bureau of Land Management expressing their disapproval of the project.

“The letters listed their concerns,” Ainsworth said. “Now, they’re all backpedaling. They’re not necessarily changing their stance, they’re just trying to claim they never had a stance. That’s really not totally true.”

He also said SeEtta Moss, conservation chairperson for AVAS, attended a meeting with the artists in late spring and was vocally opposed to the project.

“She just went on and on about how she was against this project and it couldn’t be allowed to happen,” Ainsworth said. “She was so adamant about it at that meeting.”

Moss said in a “Letter to the Editor,” the ad “shocked” her because her group has not taken an official position on the proposed project.

“We did file comments with the BLM expressing our specific concerns regarding the impacts that the preliminary plans for the proposed Christo project would have on birds, other wildlife and other natural resources,” Moss said.

She explained the group seeks to promote good conservation practices and therefore is waiting for final information to address the issues.

“It is most unfortunate that our position was inaccurately portrayed in the ad,” Moss said.

The other organization protesting the ad, DMFPD, said they have taken a neutral stand on the Christo project.

“Obviously, they have not told the truth,” said DMFPD board chairman Ron Carter, of ROAR. “I saw the ad in the newspaper and was real surprised because it’s nowhere close to the truth.”

Carter said upon seeing the ad he called the ROAR office to demand a retraction and was told by the woman who answered the phone to write a “Letter to the Editor.” He said he argued for a separate paid ad retracting the claim and was eventually hung up on.

Ainsworth did not counter that statement but said Carter was speaking with the wrong person, Ainsworth’s wife.

“He called my home and talked to my wife,” Ainsworth said. “He started reading her the riot act, but she didn’t have anything to do with the ad. I called him back later that night, and we had a pretty good discus-sion about it.”

Carter said his organization is “working very hard to stay absolutely neutral.”

“We were very shocked and surprised that someone would misrepresent our stance this way and have no idea why they would,” Carter said. “Obviously, we do have concerns just like any responsible agency would, but we are going to work with all the parties concerned to see if we can resolve those concerns.”

Ainsworth took full responsibility for placing the ad, although the general content was approved by the ROAR board.

“We’ve already decided we won’t even use anybody else’s quotes or anybody else’s names from now on,” Ainsworth said. “We’re not going to quote anybody.”

Although further ROAR communications will reflect only the opinions and ideas of its members, Ainsworth still thinks there is an easy answer to the entire conflict.

“I think this whole Christo thing would be put to bed if people came out and said they were against it,” Ainsworth said. “People need to come out and say what they mean. Everybody is worried about being politically correct and not hurting anybody’s feelings or stirring the pot, but they won’t say that.”

Debbie Bell may be reached at dbell@ccdailyrecord.com.

Christo 'Over the River' proposal rolls slowly on course

source: Copyright © 2006 Rocky Mountain News

Christo 'Over the River' proposal rolls slowly on course

By Mary Voelz Chandler, Rocky Mountain News
August 12, 2006

CAÑON CITY - One year after the Over the River project moved back into the spotlight, it is still very much a proposal.

Over the River, which began in 1992, next will be the subject of an exhaustive environmental impact statement, to be filed with the Bureau of Land Management (BLM).

The bottom line: Artists Christo and Jeanne-Claude want to hang 750 polypropylene panels in eight sections over 6.9 miles of the Arkansas River between Salida and Cañon City. They estimate 250,000 people would visit the valley to view the work.

"We're being very cautious," said Roy L. Masinton, manager of the BLM's Royal Gorge Field Office. "The ball primarily is in their court. They need to get us the complete proposal."

When all the documents are in place, Masinton will make the decision about whether the project will go forward.

A year ago, some hoped the artists could install the fabric panels for two weeks sometime in July or August 2008. Now, the artists say the earliest it could happen would be that time period in 2010. And that would be if their projection of completing the all-important environmental impact statement happens by next August.

The couple is familiar with waiting: Their last art installation, The Gates in New York's Central Park, took more than two decades to gain approval - and cost more than $21 million.

It hasn't always taken that long. Their last art installation in Colorado, the two-time attempt to stretch a huge swath of orange fabric between cliffs in Rifle, took 28 months. The second Valley Curtain lasted only 28 hours, ripped down by a fierce wind. It cost about $700,000. But those more simple days are long, long gone.

So far, Over the River has cost between $3.5 million and $4 million, said Jonita Davenport, the project director for this effort and for The Gates.

"Each one of our projects all cost the same thing," said Jeanne-Claude of the inevitable question of a potential price tag for Over the River, during an interview before an Aug. 5 slide show here in conjunction with an exhibition of their work.

"Everything we have and everything we are able to borrow from the bank."

Project engineer Vince Davenport added: "With this project, they're going to go to two banks."

Since last August, Jonita Davenport estimated the artists had been to Cañon City 15 times, her husband more. The team estimates it has walked the river 12 different times.

"We want to provide the most thorough process," said project engineer Vince Davenport. "Every issue must be addressed."

A month ago the team, with its consultants and various specialists and agency representatives, conducted an anchor test on a stretch of private property on the banks of the Arkansas.

An actual survey of the entire stretch of river for precise mapping is to begin this week. Up until now, the artists and their project managers have been working from photographs to decide where panels will be placed around what they term "interruptions." That could be a rock, a tree, a spot where bighorn sheep gather or where they've been warned traffic can be dangerous.

"We can see every tree and every rock," said Vince Davenport.

The BLM's Masinton said that since a trio of scoping meetings in January, his agency has received about 1,500 public comments. The first batch they read, about 1,100 in all, ran about 60 percent con, 40 percent pro.

Opposition has surfaced from the group Rags Over the Arkansas River (ROAR) that draws strength from the population along the river. A Salida-based group, Friends of Over the River, also is observing the project.

Jonita and Vince Davenport "are in touch on a fairly regular basis" and the artists "stop in every time they are in town," said Masinton. The BLM considers its work on Over the River a 100 percent reimbursable project, and has billed the artists about $102,000 since last August.

The agencies with a say in whether Over the River flies range from the Department of Transportation to the Department of Natural Resources. Those that choose to become "participating agencies" will have a "seat at the table."

Ultimately, though, "we still have the final decision," Masinton said of the BLM. Which is why he has not attended their exhibition or any of their talks.

"I need to try to maintain an unbiased position with them. I need to make a decision based on the impact on and the appropriate use of public land."

The artists say there is no way to compare this process to that of any of their other projects. "Each one is so different," said Jeanne-Claude.

Here, it's a matter of convincing federal, state, county and municipal agencies - and a population that is torn by an essentially rural project.

During the Umbrellas, Japan-USA, 1984-1991, where the artists placed 1,340 blue umbrellas in Japan and 1,760 yellow umbrellas in California, the couple had to woo rice farmers on one coast and ranchers on another to allow the giant objects to sprout on their land.

"We had to explain to 475 rice-field farmers, who don't speak English," Jeanne Claude began.

"Who said they didn't want anything religious there," added Christo. "The Mormons had tried to convert them."

Exhibit tracks flow of river project

source: Copyright © 2006 Rocky Mountain News

Exhibit tracks flow of river project

By Mary Voelz Chandler, Rocky Mountain News
August 12, 2006

Christo and Jeanne-Claude chose two types of images for "Over the River, a Work in Progress" on view at the Fremont Center in Cañon City.

They selected posters of many of their earlier projects (as well as Over the River) and 11 original pieces that interpret the artists' vision for panels of fabric that read as platinum from above and are translucent from below.

Several of the works are from 2006 and indicate increased articulation of the panels, show a better defined site, and include a swatch of silvery fabric that has been considered for the project.

The earliest piece on view dates from 1992, when the concept was merely called The River.

"This shows how the project has changed," said Christo. "From a clumsy way to very precise and elaborate."

Added Jeanne-Claude: "Then, we didn't have a river."

They had 89, in six Western states, a number culled to six rivers, and then one in late 1996, when the project was gaining its first round of steam.

Christo designed the Fremont Center exhibition from a floor plan of the center's main gallery. They also required a security guard be on duty, but in return offered to pick up the shipping cost of items that range from an unsigned poster for $40, to a signed poster for $250, to a large original piece on Over the River for $180,000.

Proceeds from poster sales go to the Fremont Center, and from originals to expenses associated with Over the River.

Christo & Jeanne-Claude

Over the River, a Work in Progress

• What: Eleven original preparatory works by Christo related to the proposed "Over the River" project, plus works of other large-scale installations by Christo and Jeanne-Claude

• Where and when: Fremont Center for the Arts, 505 Macon St., Cañon City; through Aug. 27

• Cost: $10 adults, $7 seniors and students with ID, $5 ages 13 through 18, free to members and children 12 and under

• Information: 1-719-275-2790

Artists proudly discuss work at FCA event

source: Copyright © 2006 The Cañon City Daily Record

Artists proudly discuss work at FCA event

David Young
The Daily Record

Surrounded by photographs and drawings of their works of art, Christo and Jeanne-Claude gushed to a room full of fans like a pair of proud parents.

In a way, the world-renowned artist’s work is like a child to them. Each is a labor of love that takes nearly a lifetime to complete.

On Saturday night at the Fremont Center for the Arts, Christo and Jeanne-Claude made a special appear-ance in honor of an “Over the River” exhibit, featuring preparatory drawings of the proposed plan to drape cloth over the Arkansas River between Cañon City and Salida.

As vibrant as Jeanne-Claude’s bright hair, the artist’s excitedly discussed some of the works on display in the Center’s gallery and answered a handful of questions from audience members.

“A lot of these (works) are our past, but a lot of them are our future,” Christo said. “These 11 original works are unique pieces done by my own hand.”

Christo explained this processes when it comes to creating preparatory works for a project are much like that of an architect. After studying the site in person and taking photographs, Christo draws the images of what he expects the project to look like when it is finished.

“Because it is not your typical type of art exhibit you are used to when you stare at a beautiful painting, you really have to read (the drawings),” Jeanne-Claude said.

Christo and Jeanne-Claude passed the microphone back and forth, each eagerly trying to say as much as they could about their future project to the packed room.

“The Gates” in New York City, “Valley Curtain” in Rifle, “The Wall” in German and “Running Fences” in California are all among the artists’ other projects currently on display at the center for the arts.

All of the 11 “Over The River” drawings by Christo are for sale, starting at $25,000. His works have his-torically gone up in value over time. Jeanne-Claude said a preparatory work in 1980 that sold for $98 is worth $140,000 today.

“They are all unique works because they have market value,” Christo said. “Their value goes up as we get more and more wrinkles,” added Jeanne-Claude.

All money raised from the sales of their works goes toward funding the artist’s next project.

“I could be covered in diamonds, or I could buy the materials for works of art,” Jeanne-Claude said.

The event, which featured wine, beer and food for guests, was well attended by visitors from across the country.

Nona Powers, an art history teacher from San Diego, Calif., made the drive with her husband, Joe.

“I admire them as artists, but I also admire their integrity because they have not sold out,” Powers said. “They’re not in it for the money. They’re in it for the art.”

Powers has seen Christo and Jeanne-Claude’s “Gates” and “Umbrella’s” projects and is planning on com-ing back to see the “Over the River” if it occurs, which would be at the earliest 2010.

One of the aspects of the style of art that Christo and Jeanne-Claude create is the all-encompassing aspect of it.

“ In (‘Over the River’), you can be over it, beside it and under it. You’re going to be able to float down the river and look through it. It’s like looking through nature in a new way,” Powers said. “ It is all encompass-ing. You’re using all your senses, but what I like most is you’re in it.”

Even those not familiar with “Over the River,” such as Gabrielle Woodbury of Blue Lake, Calif., were intrigued by the presentation.

Woodbury, familiar with the artists through college, was curious about the faces behind the large-scale works of art.

“I think that they are wonderful together, almost like one individual with two separate bodies,” Woodbury said. “Which I really get because of the entire process.”

Christo and Jeanne-Claude said the outpouring of support from the community “warms their hearts” and thanked everyone on hand.

Jeanne-Claude also took time to address the opposition to the project saying, “There is opposition to any project, not just ‘Over the River.’ But afterwards it’s hard to find people who admit to having been opposed to the project.”

After the formal presentation and question-and-answer session Christo and Jeanne-Claude retired to the parking lot where they mingled with fans, something that Powers adores about the artists.

“Most artists (wouldn’t interact with fans), but Christo and Jeanne-Claude are unique,” Powers said. “They are warm and great people.”