The gamecock. (Columbia, S.C.) 1908-2006, October 24, 1979, Page Page 9, Image 9
pprar
Thoughts t
<n __
i\unniri
For those of you who saw thi
beautifully done documentary 01
ETV Monday night, on Christo'i
"Running Fence," you may hav<
already guessed why this critic i:
adding his two bits.
Christo
Although, as I have said, th<
production was beautifully done,i
was noticeably lacking in tha
other equally important com
ponent of the documentary, in
formation.
Producers David Maysles
Charlotte Zwerin and Alber
Maysles seemed instead to havi
opted for the more graphical ap
proach, hoping perhaps for th<
pictures to tell the story. They do t
a point, but I couldn't help thinkinj
that a bit of the old verbalizatioi
would have enhanced the overal
effect of the film.
Christo is an artist who has beei
active for some time, but he move<
into the public eye when he begai
construction on his "Runninj
rence in me coasiai nuis aoov<
San Francisco. The "Fence,'
which was constructed out of whit<
nylon stretched on steel cable
between a series of large stee
poles, emerged out of the Pacifii
Ocean and ran through tw<
counties for a total of 24M> miles.
The "Fence" cost Christo over :
million dollars, took four years t<
negotiate and created local con
troversy which resulted in 1'
public hearings and a 450 pag<
Environmental Impact Report.
Christo also had to negotiate
lease agreements with the 5
ranchers who owned the land th<
"Fence" crossed. Convincing th<
ranchers that he had no ulterio
motives and that it was, in fact, i
"work of art," proved to be dif
ficult. In the film one residen
exclaimed, "What kind of art i
that? I can hang a rag up for 5
miles. I bet he (Christo) can't evei
paint a picture."
"Running Fence" remains
standing for only two weeks, fron
Sept. 8-22, 1976, yet that was lonj
enough to captivate all who saw it
Photographs (and thii
documentary) immortalized it
majestic beauty. A single whit
line fluttering in the wind as i
wound its way through valleys am
ATLANTIC I
Teenage Sex Kitten
Hungry Mouth
ATLANTIC II
Night After Night
Slave of Pleasure
^UkbLUkttiiftiWUiiQIi3P
on Christo's
r" ?
y rente
e over mountain crests for a
n seemingly endless expanse of
s space.
e
s Two weeks may seem a short j
stay for a project that took so long j
to realize, yet for Christo, the
process is of no less importance
than (ho onH nrnrlnoa itcolf
V??UII l>??V VIIU pi VUUVV IIOVII
Christo is interested in a social
art, an art people make and enjoy
| together. In the film he explains,
1 "I believe very strongly that 20th
I century art is not a single in|
dividualistic experience. It is a
| very deep, political and
r; economical experience I nave
| right now with everybody here. In
the end I think it will be beautiful, s
I With the sunset, it will have the
incredible ribbon of light tran- C
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versing through all these fences."
"Running Fence" lives up to
!hristo ideals.
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