Museum PR: Christo to Wrap Snoopy's Doghouse
Scott McGuire
--Scott
--------------
FAMED INTERNATIONAL ARTISTS CHRISTO AND JEANNE-CLAUDE ROCK SNOOPYąS WORLD
Popular Beagle Awaits his Transformed Doghouse to Arrive at the Charles
M. Schulz Museum and Research Center in Santa Rosa, Calif. this October
Santa Rosa, Calif. -- Most everyone would agree that Snoopy has a very
fine doghouse; but is it fine enough for an art museum? Soon, there will
be no question. This October, Christo and Jeanne-Claude, famed
environmental artists and creators of Running Fence, The Pont Neuf
Wrapped and the in-progress The Gates Project for Central Park, New York
City, will present a canine wrapped masterpiece, Snoopyąs doghouse, at
the Charles M. Schulz Museum and Research Center in Santa Rosa, Calif.
Christo will wrap the popular beagleąs doghouse in tarpaulin,
polyethylene, and ropes, however the details of this new highly
anticipated sculpture still remain under "wraps." Now in the early
conceptual stages, final design and fabrication of Snoopyąs doghouse
will be underway by August. Christo has conceded one bit of information
to date. He states, "Snoopyąs doghouse will be a size perfect for a
beagle, but not too small, so that it is appropriate for the
international star quality of Snoopy."
Snoopyąs Doghouse Wrapped will be previewed at the Charles M. Schulz
Museum and Research Center starting October 9 and will be on permanent
exhibit in the upstairs gallery. Other works created by Christo that are
not ephemeral include "Packages" in the permanent collections of the
Smithsonian American Art Museum, the National Gallery of Art, Washington
D.C., and the Museum of Modern Art, New York.
"Over the years, both my husband and I have admired and respected
Christo and Jeanne-Claudeąs work," said Jeannie Schulz, wife of PEANUTS
creator, Charles Schulz (known as "Sparky" to friends and colleagues).
"I am delighted that Christo and Jeanne-Claude are honoring both
Snoopyąs celebrity and Sparkyąs memory with this wonderful piece. I am
very eager to see it."
THE SCHULZ/CHRISTO CONNECTION: Art Imitating Life? Or Life Imitating
Art?
Charles M. Schulz and Jeannie Schulz met Christo and Jeanne-Claude in
1975 when they were in Northern California working on the preparation
for Running Fence. Schulz admired the artistsą designs and attended
many town hall meetings to support the Running Fence concept during the
planning stages. In 1978, he memorialized Christoąs work in his daily
strip, while at the same time foreshadowing the transformation of
Snoopyąs home this October.
ABOUT CHRISTO AND JEANNE-CLAUDE
Christo and Jeanne-Claude are artists whose works are entire
environments, whether they are urban or rural. Over the course of their
six decade career, they have been responsible for such renowned projects
as: a wall made of 13,000 oil barrels
(<http://christojeanneclaude.net/gaso.html>The Wall - 13,000 Oil
Barrels, Indoor Installation and Exhibition at the Gasometer.
Oberhausen, Germany. 1998-99); an umbrella landscape (The Umbrellas.
Japan-USA. 1984-91); a 24 ˝ mile-long fence (Running Fence. Sonoma and
Marin Counties. 1972-1976); and the wrapping of a world-famous bridge
(The Pont Neuf Wrapped. Paris. 1975-85). Preparatory drawings on
paper, collages, and scale models created by Christo are an important
part of the process. These materials illustrate the years of research
involved in locating the site and discovering its history and use, as
well as the technical problems addressed in the final engineering and
construction of the artwork. The completed projects have been said to
"rock oneąs world."
ABOUT THE CHARLES M. SCHULZ MUSEUM AND RESEARCH CENTER
Located in Santa Rosa, California, The Charles M. Schulz Museum and
Research Center is the "Mecca" for Peanuts fans and is the only place in
the world where fans can view such a substantial number of Schulząs
original strips and learn more about the artist behind the Peanuts
phenomenon. Open since August, 2002, the Museum features a re-creation
of Schulząs studio, a research library and other highlights such as a
7000-pound morphing Snoopy sculpture that illustrates the evolution of
Snoopy. For further information on the Charles M. Schulz Museum and
Research Center, please visit <http://www.schulzmuseum.org/> .
BigStar303
been able to pull the wool over the eyes of alleged "art lovers" all these
years with his shtick.
I'm a little surprised that the Schulzes fell for it. Snoopy's dog house
doesn't need Christo's ministrations; it gets along just fine without them --
just as the natural wonders he's defaced over the years were doing before he
had the balls to think they needed his input.
In terms of their relative contributions to society and art, Christo isn't fit
to so much as pick up Sparky's pen.
Marcie Lee
--
Marcie Lee
"There's fear and trembling in Petaluma tonight!"
---Snoopy, 1968
1975 when they were in Northern California working on the preparation
Chris Lee
>been able to pull the wool over the eyes of alleged "art lovers" all these
>years with his shtick.
>
>I'm a little surprised that the Schulzes fell for it. Snoopy's dog house
>doesn't need Christo's ministrations; it gets along just fine without them --
>just as the natural wonders he's defaced over the years were doing before he
>had the balls to think they needed his input.
>
Since art ultimately comes down to how the observer feels about it, you're free
to not like something, and it doesn't make you a philistine if you don't (a
rule that many people in the art community need to do a better job
remembering). But I think you're being a little unfair to Christo and
Jeanne-Claude.
This probably isn't the place to discuss the value of conceptual art, but
Christo doesn't believe that the environments he works with need his "input",
or that he's defacing them. What he does is temporarily changes them. By doing
that, he forces us to view familiar things from a different perspective, which
accentuates and even adds to their beauty.
Ok, it sounds extremely goofy, but when you see the final product, darned if it
doesn't work! I've only seen pictures; I can only imagine what they look like
in person. And the other part that makes them fascinating is to think about all
the work that goes into them. It literally takes Christo and Jeanne-Claude
years to plan everything, so besides the artistic value their work is also in a
way a great feat of engineering.
I can understand your objection, though. It's pretty easy to view Christo as
sort of the Evel Knievel of art: pulling off massive publicity stunts. But he's
committed to what he does. All of his projects are done at his own expense.
In this case, obviously Christo was flattered by Schulz mentioning him in the
strip, and wanted to do something to honor his memory, so why not wrap the
doghouse in real life? (and remember, it was Schulz who came up with the idea
of wrapping Snoopy's doghouse, not Christo).
>In terms of their relative contributions to society and art, Christo isn't
>fit
>to so much as pick up Sparky's pen.
>
Perhaps, but Schulz himself clearly felt that Christo's art had great value.
Christopher L.
http://ezclee4050.tripod.com
I don't remember too good, but I think John Wayne was in it
Scott McGuire
always been impressed by the audacity and ability to pull some of them
off. And they have sort of a gonzo, goofy appeal. (He might not
appreciate me putting it like that. :-) )
As far as the doghouse being fine just as a doghouse - well, yes, but
it's a lot less interesting to just put a 3D version of the doghouse in
a corner of the Museum. I see this work as kind of a cousin to Tom
Everhart's paintings - sort of reinterpreation of the classic Peanuts
scenes.
Otherwise, I pretty much agree with what Chris Lee said - no matter what
you think of it, it will certainly be an interesting addition to the
Museum.
--Scott McGuire / smcg...@mit.edu
BigStar303
I wrote:
<< I guess I must truly be a Philistine, because I can't imagine how Christo
has
>been able to pull the wool over the eyes of alleged "art lovers" all these
>years with his shtick.
>
>I'm a little surprised that the Schulzes fell for it. Snoopy's dog house
>doesn't need Christo's ministrations; it gets along just fine without them --
>just as the natural wonders he's defaced over the years were doing before he
>had the balls to think they needed his input.
Chris Lee replied:
<< Since art ultimately comes down to how the observer feels about it, you're
free
to not like something, and it doesn't make you a philistine if you don't (a
rule that many people in the art community need to do a better job
remembering). >>
I'm glad to hear you say this!
<< But I think you're being a little unfair to Christo and
Jeanne-Claude.
This probably isn't the place to discuss the value of conceptual art, but
Christo doesn't believe that the environments he works with need his "input",
or that he's defacing them. What he does is temporarily changes them. By doing
that, he forces us to view familiar things from a different perspective, which
accentuates and even adds to their beauty. >>
This is where we disagree. I don't believe that works created by nature need to
have their beauty "added to." And I think it takes a massive ego on the part of
the artist to imagine that anything he could add to something that's naturally
occurring -- even if only temporarily -- would "accentuate" its beauty.
<< Ok, it sounds extremely goofy, but when you see the final product, darned if
it
doesn't work! I've only seen pictures; I can only imagine what they look like
in person. And the other part that makes them fascinating is to think about all
the work that goes into them. It literally takes Christo and Jeanne-Claude
years to plan everything, so besides the artistic value their work is also in a
way a great feat of engineering. >>
Nice to know, but of course this last factor doesn't add to the work's artistic
validity in any way.
<< I can understand your objection, though. It's pretty easy to view Christo as
sort of the Evel Knievel of art: pulling off massive publicity stunts. But he's
committed to what he does. All of his projects are done at his own expense. >>
I'm also glad to hear this!
<< In this case, obviously Christo was flattered by Schulz mentioning him in
the
strip, and wanted to do something to honor his memory, so why not wrap the
doghouse in real life? (and remember, it was Schulz who came up with the idea
of wrapping Snoopy's doghouse, not Christo). >>
I understand this. Probably another reason that I react negatively to the idea
has more to do with my doctrinaire view of the world of Peanuts. I'm really a
strict constructionist; if it didn't happen in the daily strip, I really don't
much want to know.
The TV specials are marginally acceptable because they had Schulz's input and
were sensitively done. But I just have no interest beyond this. (The very idea
of adults appearing onstage and trying to recreate the Charlie Brown and Linus
of my imagination in "You're a Good Man, Charlie Brown" is abominable to me.)
So I know they've got to have something other than original strips to put in
the museum. But the Christo/Snoopy plan just doesn't do anything for me...and
it wouldn't if someone other than Christo were involved either, I reckon.
<< >In terms of their relative contributions to society and art, Christo isn't
>fit
>to so much as pick up Sparky's pen.
Perhaps, but Schulz himself clearly felt that Christo's art had great value. >>
I think it's a leap to assume this. It's equally possible that Schulz merely
felt that Christo's art was "extremely goofy" in an off-the-wall sort of way,
and saw the humor potential in mating it with Snoopy.
And that's OK, too...I'm all for art having a humor component. My problem is
when something like this somehow is translated into something "great" or
meaningful.
Let me make it clear, having said all this, that my view of art as a whole is
the same as my view of free speech. You can say just about anything, no matter
how offensive -- as long as I'm permitted to reply in kind. And an artist is
free to create anything he or she wants to -- as long as I retain the right to
react to it honestly and forthrightly without being thought ill of for doing
so.
[Warning: another long OT ramble follows to amplify this!]
An incident from my past has always crystallized my feelings on this subject.
In 1974 I traveled cross-country with two of my friends in sort of a random
fashion. We somehow found ourselves in San Francisco at some sort of a
multimedia "art" event. I don't even remember what the other various components
of this event were.
But at one point, they showed a documentary film about an "artist" and an
"installation" he had created for a public area in a city somewhere.
This installation was...well, it was a giant ice bag -- the sort of cloth or
rubberized thing you'd fill with ice to place on an injured muscle
This thing was huge, and at the top, in place of the cork that seals such a
device, was instead a rounded mirror. Then the whole thing was motorized, so
that the top portion of the ice bag with the mirror on it would sort of rotate.
The documentary covered the artist's creation of this piece and featured a
great deal of his own commentary on the "significance" of his piece and what he
was trying to "accomplish" with it.
What was fascinating was not the film, but the audience's reaction to it. As
the artist's pretentious blather droned on, you could hear a growing crescendo
of titters that threatened to turn into guffaws.
And yet, it never quite happened -- because you could tell that no one wanted
to be seen as...well, a Philistine! There was much shifting of eyes, as many
wanted to give vent to their true feelings but were reluctant to do so for fear
of how they might be perceived by others.
And that sums up my feeling about much (though certainly not all) of the "art"
world. Periodically, we need some kid to come along and point out that the
Emperor truly has no clothes.
Chris Lee
>Perhaps, but Schulz himself clearly felt that Christo's art had great value.
>>>
>
>I think it's a leap to assume this. It's equally possible that Schulz merely
>felt that Christo's art was "extremely goofy" in an off-the-wall sort of way,
>and saw the humor potential in mating it with Snoopy.
>
From the Schulz Museum press release that started this topic:
"Charles M. Schulz and Jeannie Schulz met Christo and Jeanne-Claude in
1975 when they were in Northern California working on the preparation
for Running Fence. Schulz admired the artistsą designs and attended
many town hall meetings to support the Running Fence concept during the
planning stages. In 1978, he memorialized Christoąs work in his daily
strip"
Christopher L.
http://ezclee4050.tripod.com
Por el dinero, todo; Fuera del dinero, nada.
tc...@lsa.umich.edu
Chris Lee <ezcle...@aol.common> wrote:
>"Charles M. Schulz and Jeannie Schulz met Christo and Jeanne-Claude in
>1975 when they were in Northern California working on the preparation
>for Running Fence. Schulz admired the artistsą designs and attended
>many town hall meetings to support the Running Fence concept during the
>planning stages. In 1978, he memorialized Christoąs work in his daily
>strip"
Furthermore, if BigStar303 is "doctrinaire," then wrapping Snoopy's doghouse
would seem to be perfectly in line with the world of the strip.
What's next, William Perry kicking a football with a ribbon on it? ;-)
--
Tim Chow tchow-at-alum-dot-mit-dot-edu
The range of our projectiles---even ... the artillery---however great, will
never exceed four of those miles of which as many thousand separate us from
the center of the earth. ---Galileo, Dialogues Concerning Two New Sciences
BigStar303
<< In article <20030907154056...@mb-m03.aol.com>,
Chris Lee <ezcle...@aol.common> wrote:
>"Charles M. Schulz and Jeannie Schulz met Christo and Jeanne-Claude in
>1975 when they were in Northern California working on the preparation
>for Running Fence. Schulz admired the artists1 designs and attended
>many town hall meetings to support the Running Fence concept during the
>planning stages. In 1978, he memorialized Christo1s work in his daily
>strip"
Furthermore, if BigStar303 is "doctrinaire," then wrapping Snoopy's doghouse
would seem to be perfectly in line with the world of the strip. >>
First, thanks to Chris Lee for the clarifying statement (which I guess I would
have seen had I gone back to the original press release. Sorry!).
What I was trying to convey by "doctrinaire" was that in my (admittedly) narrow
view, I don't really go for any effort to make the world of Peanuts concrete
outside of the strip.
Put another way, for me Snoopy's doghouse exists only in the strip. A solid,
three-dimensional depiction of the doghouse -- wrapped by Christo or not --
doesn't compute with me.
Nothing whatsoever against those who do go for these concrete depictions -- God
knows my wife has enough of them! That's just me.