Christo and Jeanne-Claude's The Gates is a spectacle consistent with [the Renaissance art tradition], a piece of elaborate social theater that's an unintentional portrait of our time. That portrait can be poignant and charming; most of all, it's funny. I'm surprised more isn't being made of the ongoing social comedy surrounding The Gates, which is a satirist's dream. Well, actually, I'm not surprised: People are afraid to smile too much around art.
Mark Stevens
New York Magazine
The Gates. "The Gates" has a nice ring to it, don't you think?
Much is being written about Christo's and Jeanne-Claude's latest public art piece in Central Park. There are even homages and parodies (and parodies) of the work. Whatever you think and whatever you've read, it's certainly a cause for celebration: art displacing war on the front pages of major media.
But I'm not here to talk about the work. Instead, let's talk about the title of the work. The Gates. It's nice to see your name in headlines, plastered all over the Web, and on the nightly news. But it certainly isn't the first time.
I'm what you might call a Celebrity, once removed. I see my name on airport and train station signage all the time: "To Gates 71-75." At the Oakland Airport there is even a more personal acknowledgment: "Gates 7-17" (my birthday). And now I'm associated with fine public art.
Yes, my name is famous. But I am merely a country cousin. Not in the real sense. I'm not related to Bill (or to Christo and Jeanne-Claude for that matter). I actually come from a very short line of Gateses. It's just my two daughters and me now. At Ellis Island some low-level official set me up for this by christening my grandfather Herman Guyetsky as Herman Gates. I've given thought to changing it back, but, then, I've built up quite a reputation --once removed of course.