Louisiana Museum of Modern Art
Christo – Running Fence California (1972-1976) - Framed - SHOWROOM SAMPLE
- Specifications
- Description
- The Maker
- Brand: Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-108016-FRMD-FJ-OH
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Material:
- Poster: Printed in Denmark on paper
- Frame: Oak & Glass
- Dimensions: 16.5" x 23.4" (A2)
Exhibition poster featuring the work, Running Fence, California (1972-1976), by the Bulgarian-American artist, Christo (1935-2020). In 1978, Louisiana's exhibition showed Christo's documentation of his Californian, "Running Fence": A white nylon fabric that Christo, after several years of preparation, traveled from the coast and 40 kilometers inland, at a height of 5.5 meters, suspended from 2000 masts.
Christo has always worked on gigantic projects: a 20,000 square meter orange carpet over a valley in the United States—a work Louisiana also exhibited in 1974—and the wrapping of the German government building in Berlin, to name just a few.
Also with Running Fence, the Louisiana exhibition showed Christo's documentary and sociological reportage about the preparations, which for Christo were part of the artwork.
Together with his assistants and lawyers, he persuaded farmers, road workers, city councils, conservation and other authorities and he made calculations together with whole teams of engineers and other specialists. Christo raised the financing with support from museums, art collectors and other interested parties, who bought, among other things, the project's preliminary studies, drawings and collages.
In this way, Christo did not just create things of beauty. As a landscape and environmental artist, his actions uncovered societal mechanisms and shed light on attitudes, prejudices and legislation. And the sheer size of his works became a quality in itself.
From the beginning, the founder, Knud W. Jensen, intended for the museum to be a home for modern Danish art. But after only a few years he changed course, and instead of being a predominantly Danish collection, Louisiana became an international museum with many internationally renowned works.
Louisiana's close contact and collaboration with the international arts and cultural milieu has since been one of the museum's greatest strengths. And also one of the main reasons that it has been possible for Louisiana to present an exhibition program that has resonated so strongly with the public over the years. Louisiana has thus achieved a standing as one of the world's most respected exhibition venues, and in the future, it will be able to attract exhibitions and artists at a level that few other museums—either in Denmark or abroad—can match.
Knud W. Jensen put into action many of the period's visionary ideas about modern museum operation, including a desire for art to have a wide audience. It has always been the view at Louisiana that art is not just for an elite but includes experiences and visions for the many.
Why is it called Louisiana?
Many people wonder about the name of the museum. The short explanation is this—a nobleman and his three wives.
Knud W. Jensen chose to "take over" the name of the country house that he later converted to a museum. The property had been built and named in 1855 by Alexander Brun (1814-93), who was an officer and Master of the Royal Hunt and who married three women who were all named Louise.
Here at Louisiana, he was a pioneer in beekeeping and the cultivation of fruit trees.
From the beginning, it was Knud W. Jensen's vision to create a museum with soul, where the public could encounter artwork—not as something pretentious, but rather something that spoke directly to the viewer. And he emphasized the need for "supplementary content" that could help bring alive and enrich the environment: The more opportunities for experience that the program offers, the more Louisiana lives up to its idea—to be a 'musical meeting place' and a milieu that is engaged in contemporary life.
—Knud W. Jensen
