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Last weekend Will and I went to New York to see The Gates, the public art
installation of Christo and Jeane Claude in Central Park. The Volunteer
orange cloth (Christo and Jeane Claude prefer the more romantic “saffron,”
but I swear it the same color as those flags flown so proudly by Tennesseans)
of the gates shifted colors in sunlight as they curtained out like flouncing
skirts in the wind. The gates captured silhouettes of tree branches frame
by frame as we passed underneath. When the air was still, Will could touch
the bottom edge of the cloth easily flat-footed. I had to get a running
start and leap to touch it myself.
Our friends David
and Jessi led us to the top of a mound of rocks to catch the view from
above. From a distance, the gates aligned and realigned innumerable times,
crossed themselves then struck out alone to curve along distant paths. They
formed a rhythmic pattern as they marched in measured sequence, yet revealed
delightful irregularity as they narrowed and widened, curved and straightened
with the paths they traced.
But by far the most striking, most memorable thing about The Gates was the
crowd that swarmed through them on a cold Sunday in February. Strolling,
jogging, ice skating, tossing footballs, snapping photographs, some even
dressed for the occasion in bright orange hats and scarves. Christo and
Jeane Claude succeeded in creating a truly public event. Years from now,
every one of those people will remember the time when The Gates were up
in Central Park. That shifting saffron is now burned into the memory of
all who saw it, forming a sense of collective time and space that creates
community. Negative events often have the power to do this—we all
remember where we were when we learned of the events of September 11 or,
for an older generation, the Kennedy assassination—but it is much
harder to find positive events that do the same. This is one such event.
More of our pictures from the gates.
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Posted by: jillian on Sunday, March 06, 2005 - 04:10 PM
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