Michael Parks Lithograph

Motivated solely by a mission to spread joy and celebrate beauty through their work, Christo and Jeanne-Claude (1935–2020; 1935–2009) created riveting large-scale public art installations that pushed ephemeral art to an entirely unprecedented new level. While the pair created prints, photography and a range of other types of art, they’re best known for their installations — working with a combination of textiles and industrial materials, Christo and Jeanne-Claude created colossal site-specific sculptures and other projects that frequently included wrapping monuments, walkways and even coastlines in reams of fabric in order to draw attention and encourage viewers to experience familiar objects and places in entirely new ways. 

Christo and Jeanne-Claude frequently incorporated nature’s forces into their works, creating billowing fence lines, enormous inflatable free-standing structures and colorful floating walkways. Partners in life and art, the pair designed installations that often took years or even decades to realize and lasted for only days or weeks. Christo and Jeanne-Claude’s preparatory works and detailed drawings and collages are today a testament to their intricate ephemeral masterpieces and legacy.

Christo and Jeanne-Claude’s stories, incredibly, began on the exact same day — on June 13, 1935, Christo Vladimirov Javacheff was born in Gabrovo, Bulgaria, and on the very same day in Casablanca, Morocco, Jeanne-Claude Denat de Guillebon was born. While Jeanne-Claude received a broad education and a baccalauréat in Latin and philosophy, growing up in France, Switzerland, Morocco and Tunisia, Christo studied art from the age of six years old. He went on to study painting, drawing, architecture and sculpture at the National Academy of Art in Sofia before leaving Bulgaria to escape the Hungarian Revolution. 

Christo spent time in Prague before a brief stint at the Vienna Academy of Fine Arts, moving on then to Geneva and ultimately France. He made money by painting portraits for wealthy families. After being hired by Jeanne-Claude’s mother to paint three portraits of her, Christo met his future wife and collaborator. The pair created their first environmental installation, Dockside Packages and Stacked Oil Barrels, in 1961. 

Together, Christo and Jeanne-Claude pursued increasingly ambitious projects, proposing to wrap everything from trees in Wrapped Trees, Foundation Beyeler and Berower Park, Riehen, Switzerland, 1997-98 to important public buildings including the Wrapped Reichstag, Berlin, 1971–95. They also created free-standing abstract sculptures such as the 5,600 Cubicmeter Package, billowing curtains such as Valley Curtain, Rifle, Colorado, 1970–72, and proposed installations in locations as far-flung as Dubai and Japan. These projects and others have been linked to the Pop art-adjacent nouveau réalisme movement.

Classically trained in drawing, Christo created preparatory sketches and collages for the projects, selling his artwork to independently fund the monumental temporary installations the pair erected. Meanwhile, Jeanne-Claude advocated for the pair’s artwork, speaking at public forums, sending proposals to municipal governments, and using her unique combination of compelling charm and stoic stubbornness to get their projects approved. 

Devoted to their ideals of spreading joy and beauty, the pair accepted no commissions or commercial collaborations — all their installations were funded purely by the sale of their preparatory art. The last of their realized urban works, that 2005 project invited New Yorkers to go for a glorious walk through 7,503 saffron-fabric-draped portals along the pathways of Central Park. More than 4 million people did.

Christo’s wrapped sculptures, which he began making early in his career, as well as his preparatory works, are held in the permanent collections of museums and other institutions including the Smithsonian American Art Museum, the National Gallery of Art, the Museum of Contemporary Art and the Centre Pompidou. Jeanne-Claude died in 2009, and Christo continued to realize the pair’s planned projects until his own passing in 2020. 

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Used to refer to a time rather than an aesthetic, Contemporary art generally describes pieces created after 1970 or being made by living artists anywhere in the world. This immediacy means it encompasses art responding to the present moment through diverse subjects, media and themes. Contemporary painting, sculpture, photography, performance, digital art, video and more frequently includes work that is attempting to reshape current ideas about what art can be, from Felix Gonzalez-Torres’s use of candy to memorialize a lover he lost to AIDS-related complications to Jenny Holzer’s ongoing “Truisms,” a Conceptual series that sees provocative messages printed on billboards, T-shirts, benches and other public places that exist outside of formal exhibitions and the conventional “white cube” of galleries.

Contemporary art has been pushing the boundaries of creative expression for years. Its disruption of the traditional concepts of art are often aiming to engage viewers in complex questions about identity, society and culture. In the latter part of the 20th century, contemporary movements included Land art, in which artists like Robert Smithson and Michael Heizer create large-scale, site-specific sculptures, installations and other works in soil and bodies of water; Sound art, with artists such as Christian Marclay and Susan Philipsz centering art on sonic experiences; and New Media art, in which mass media and digital culture inform the work of artists such as Nam June Paik and Rafaël Rozendaal.

The first decades of the 21st century have seen the growth of Contemporary African art, the revival of figurative painting, the emergence of street art and the rise of NFTs, unique digital artworks that are powered by blockchain technology.

Major Contemporary artists practicing now include Ai Weiwei, Cecily Brown, David Hockney, Yayoi Kusama, Jeff Koons, Takashi Murakami and Kara Walker.

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Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

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