Plop Art. Seriously?

Just when you think you’ve heard just about everything (Is that really possible in these days of mass media?) I read of an urban sculpture described as “plop” art.  Wiki of course, has a definition but in essence it is public art that does not sit well in its urban environment.  “It’s been just plonked”.  So does that make it bad art?  Or perhaps architects, town planners, city workers etc. are to blame for not making integration easier.  

Seriously though, some of these artistic offerings are causing a little bit of frisson between the relationship of art and architecture, and statements about what is culturally acceptable.  Ah, now that’s more to the point!  So who is making these decisions?

Plop was used to describe Niki de Saint Phalle’s sculptures that enthusiastically grace New York Ave in Washington DC.  Washington is very formal, rather reserved and a tad grey.  That doesn’t mean I didn’t like the place.....  But there isn't a coffee shop on every corner and we did have to walk a fair way to find a restaurant or two, so it wasn’t surprising that at times the streets seemed empty, even dull.   

So, to see these colourful and energetic figures tingling with joie de vivre, almost skipping down New York Avenue was a bit like watching a natural energy (like kids at play or koi at feeding time- you know the kinda thing!).  Strange bedfellows maybe but to me, the works add another dimension to an already complex Washington. 

As to art that has come to a bad end, or bad art that has come to an end - perhaps not!  An acceptable solution I’ve seen for seriously bad art to be preserved for all time (just to make sure we are remembered at our worst) is the MOBA.  No relationship to the MOMA, but what a great way not to take ourselves too seriously.  When you’re done with that, join the queues to visit one of Ripley’s Believe It or Not Museums.  No one could possibly be offended there (because it’s cloaked in four walls?).

(As an aside, plonk used to describe sherry or fortified wine, popular pre-dinner drinks a few years ago.  We Aussies are wine and beer drinkers now, but some still say "it's a bottle of plonk".  Usually a cheap one!  Here's cheers and enjoy a tipple or two for the New Year celebrations.)

Exploring Blue Mountains

Quilt (or Guilt) Tripping No#2

(13 April 2011)

Well on the way to meeting our 12 step program (5 shops down, 7 to go) we launched on a trip to the Blue Mountains following guidance on The Western Quilt Trail.  April was great, not too cold and not too hot.  Again we travelled in the footsteps of our forefathers; searching for new and fertile territory.  But our search was for inspiration - to either start new projects or finish old ones…..any good excuse really to buy new fabrics!

We met for breakfast in coolish Blackheath.  After a satisfying coffee or two (we’re rather needy that early in the morning) we waited for Ribbons & Rainbows to open.  Sadly, this classic patchwork shop is now closed for good – but bargains were to be had that day, so we warmed the plastic for early use.  Our little group had grown somewhat with three others joining us for the day’s adventure.

Ribbons & Rainbows, Blackheath

Katoomba was slightly warmer, and we enjoyed the equally warm hospitality at The Stitching Post.  This labyrinth is home to an extensive collection of needlecrafts, guaranteed to please even the fussiest of visitor.  We had 3 cars this trip – don’t you just know that we would make use of all that boot space!

We were on schedule for lunch in Leura; not a good day with lots of work going on in town to get a new Woolworths ready for its opening the following day.  Still, we worked around the chaos managing to spend a little time in Picklemouse Corner before hitting the road again down for Springwood.

 
There was quite a nice collection of modern fabrics in Sew & Save and an extensive selection of sewing supplies to replenish our dwindling haberdashery stocks.  A nearby second-hand bookstore temporarily side-tracked us with bargains but our hectic schedule (and bossy tour organiser) demanded we move on downhill to Post Office Patchwork at Glenbrook where we made a few interesting purchases.  Isn’t it amazing that no two stores are ever the same.  We were in need of a break and sipped a coffee in a nearby café.  The homemade cakes were too good to miss too!!

Finally, we scooted off the M4 just in time to catch the last 20 minutes at Penrith store PatchworkHeart owned by Michelle Marvig.  (Sadly that store has also closed.)  Our day was over in no time, our bags heavy with goodies and quite a few bargains. We had a great day and can recommend the Western Quilt Trail to anyone looking for a textile treat or two.

(Ed Update: I've been told that Blackheath's Ribbon and Rainbows has since re-opened.  That's good news!)

Not Quilting. Shopping.....

Quilt (or Guilt) Tripping No#1

(5 Mar 2011)

The Randwick girls were inspired to spend a day together browsing (and not necessarily buying).  Sure!  Like early explorers keen to find fertile ground outside the city’s confines, we planned a trip in early March out to the historic Hawkesbury region.  First stop though, was coffee, before we surrounded ourselves in the sophisticated delights of Killara Village Quilts.  We did have a slow start but, following B’s lead, managed to come away with some Japanese delights, a few antique reproductions to bulk out our stashes, a pattern or two and vague plans to one day do a class perhaps.  Lofty ambitions indeed!

From here we headed west to Richmond where this fortunate and bucolic community manages to support two quilt shops… Oh, to be so lucky!  Our first stop was Fortunes & Fairies where we acquired a liking for William Morris before moving over to Diane’s Country Rose and her collection of Kaffe Fasset.  Any resolve we may have had to show restraint had collapsed by now; any sign of weakness largely due to our earlier caffeine fix wearing off.

After a brief stop at Y’s brother’s house in Windsor (where we raided a bountiful fig tree), we moved on to nearby Patchwork Addiction.  We had time for a quick, late lunch at a nearby café, and then moved on in to scour PA for stash builders.  I managed to find an amazing New York City photo montage which was perfect for my NYC memory quilt, now on the cutting board. 

We dallied too long and had to cut short our trip. Sadly, we would not have time to visit Dural.  Instead, we zoomed down the M7 to make Craft Depot at Pennant Hills.  Phew, 30 minutes to spare before closing time.  “Hardly a challenge!” we said in unison.

Later, our acquisitions were reviewed over a wine and dinner in Coonanbarra, at Wahroonga before heading home to pat our fabrics before introducing them to the rest of the gang.  Now, to hide that melting plastic!  It will need a little time to recover…..

Sadly, no photographic evidence exists of our “voyages bonhomie”.  Maybe it’s better that way!  At least we took one over dinner.  And we're not too exhausted.

Enjoying early dinner after a hard day shopping

Herding Cats

Can it be my last post was in May about an event in January.....I will simply have to do better!  Not to worry, we are home now with internet at our fingertips 24/7 - and a Bernina sitting, all lonely, out in the garden shed. 

The Kookies were the first to welcome us back and I suspect there's a baby in a nest somewhere - hopefully safe.  One of several babies on the island.  How things change in only a few months.

So, it's back to the keyboard and keeping thoughts contained is a bit like herding cats. 

Angra do Heroismo, Terceira. 
One of many amazing stops on our visit through the Azores

Australia Day 2011

Australia Day on the Island was quite a success in 2010, so the quilting ladies were asked to host another exhibition this year. 

Thus began the mad dash to complete UFO’s in time.  To be fair to our viewing public, we didn’t want to repeat too many of last year’s quilts.  Somehow, we made the deadline (despite the heat) and came up with quite a selection to hang inside and out.  Margaret’s house is close to the Ferry wharf so our visitors arrived to a colourful welcome.  See for yourself…

I think it was well worth the effort!  We even had a few musicians along during the day to set the ambiance. 

It was hard work to organise, but well worth the effort.  We even had the odd offer to buy our quilts, but somehow that's another issue for discussion.  What is an acceptable price to ask for our handiwork and are people prepared to pay that price. 

It was so uplifting to see our quilts hanging and the variety of work we had produced over the years.  Hanging offers a whole new level of appreciation and inspiration.  See my comments re: hanging your groups or your own quilts. 

So, what are we planning for next year?  Don't ask - the UFO pile is getting dangerously low!

Visitors arrive on our trusty Island Ferry, the Sun.

Annapolis: Old Houses

Chase Lloyd House 1769

On the way back to Deltaville VA, we stopped for the Annapolis Sail Boat Show in Weems Creek.  Yikes!  Full to the brim with cruisers and boaters!  Luckily, we snagged the last day of the show, so we were able to have a day at the show then fit in some time sightseeing around the old port district.  You would think that Annapolis is all Boat Show and Naval Academy.  Well, no!

Garden behind William Pacca House 1763

Located just a few blocks from the City Dock, is the Anglo-Palladian, Hammond Harwood House (1774) and the William Pacca House (1763-65) with its colonial pleasure garden; both open for viewing.   Photos were not allowed to be taken inside, but I must say I really liked the bold use of vivid interior wall colours. The docents were again excellent – interesting and interested in their residences.  After the tours, I strolled the colonial garden (only until recently a bitumen carpark), meeting Jeffersen, the large, black guard cat.  We exchanged pleasantries but it was either my accent or camera that appeared to irk him – so he left! 

Fall Wreath

At closing time, I made my way back from the historic district to the dock admiring some attractive and well cared for homes (from the outside!).  We were told on our tour, the city holds regular competitions for best front door decoration; baskets in Spring and wreaths in Autumn (or Fall in American speak).  I couldn’t resist taking just a few (more) photos.

Fall Colours

Up a busy Weems Creek

Washington: Textile Museum

No photos allowed in the Textile Museum

I seem destined to pick either “closed” days or times mid-prep for the next exhibition.  Damn unlucky, I say!  Therefore I was hardly surprised to collect both awards at the Textile Museum in Washington DC. 

When I did eventually get a foot in the front door, I was able to see at least, Indian tent hangings, William Morris upholstery linens, Chinese embroideries and American Indian weavings (rugs).  I spent most of my time exploring their excellent research area where I was able to give some thought to:

• What gives each textile its own look and personality?
• How are these textiles made?
• What are the influences on the maker?
• What can this textile teach us? 

Although meant essentially as a framework to support organised research into world textiles, this context could well be useful for any artist interested in exploring their own motivations, technique and artistic direction.

Luckily, I caught a glimpse of 10 fabulous Ikat coats, part of an upcoming exhibition. Ten has to be better than nothing; and certainly not bad for a spur of the moment visit.  Can I live in Washington??

These are a few tempting examples from exhibition books and mags available from the Museum Shop. 

(Just as an aside, and because I quite like historic homes, the Textile Museum is located in the 1908 home of George Hewitt Myers, a renowned rug and textile collector.  The house is built in the Colonial Revival style – now weren’t we just considering that….)

Washington: Art & Museums

Washington is awash with museums and it was a difficult choice to make (other than the Textile Museum of course!).  And whilst the lure of the famous Smithsonian was terribly strong, I jumped in at the Women in the Arts Museum. 

I am pleased to say that an artwork by Emily Kingwarree (1916-1996) is in the collection.  Her painting “Yam Story” is inspirational; strong, bright brushstrokes sing over a dark background.  Nearby works by LC Armstrong “Blue Shift” and Valerie Javdon “Ace in the Hole” gave me great ideas and I wanted to start sketching immediately.  A classic sculpture by Barbara Hepworth made me appreciate her talent. The main exhibit was by talented Elisabetta Gut.  She presented 22 Artist Books all focused on recording dreams and memories.  She used symbolism, purposeful signs and engaging metaphors to manipulate her medium of books.  She collaged, constructed book objects (cut-outs etc.) and drew poems that captured, to my mind anyway, the intrinsic qualities of fleeting dreams and vague personal memories.

Textile Art in the Renwick Gallery

The next gallery I visited was the Renwick Gallery with exhibitions of Gaman (Japanese WW2 ephemera) and Timber.  Some of the timber pieces were stunning and I often found myself wondering if indeed they were actually timber, such was their grace and beauty.

Gaman was an exhibit of items created by Japanese (even American born Japanese) during their internment during WW2.  The works were beautiful given what little they had and showed the detainees resourcefulness, even in times of great sorrow.  The piece I could not take my eyes off was a small sleeveless white silk vest.  It had red thread sashiko, a painted tiger on the back and 5 buttons.  

Called “Senninbari”, thousand person stitches, this vest had been knotted by separate individuals to bring good luck, good fortune and long life to its wearer.  The tiger motif symbolised courage.  This vest of a thousand knots was often worn into battle.  In some cases, senninbari could also be a scarf or a sash.  Textiles as charms, full of meaning and ritual.

(Photo from Review)

Washington: Humble Battlefield Quilts



A soldier's belongings

Whilst we toured the historic Manassas battlefields with Dominique & Warren, I couldn’t help but zoom into the soldiers’ belongings set up under a tree as they might have been in 1861-1865.  Yes of course, there was a quilt!  It resembled our waggas in a way and appeared to be made of wool tailoring samples.  I was on a guided tour so didn’t have time to ask questions but managed a photo or two.  It got me thinking about practical quilts, including those made for & by men, and what they were used for.  The chances of these most basic of our craft to have survived are slim unlike “good” quilts that were kept locked away at home. 

It was great timing to have the AFAM exhibition so that I could explore Civil War Quilts and began to see another side to this craft – so many layers of meaning, so moving and so humble.

A Soldier's Kit

American Folk Art Museum

During our stay in NYC (Sep 2010) I managed to get to the AFAM - wouldn’t you know it, it was partially closed to install an exhibition.  That exhibition (she said breathing deeply) was Quilts: Masterworks from the AFAM – a two part exhibition and a book big enough to gulp my entire baggage allowance in one foul swoop. 

Thankfully bad weather had a quilted lining and our side trip to Washington meant that I could manage a few hours at the exhibition a few days later.  His Nibs kindly agreed to catch an even later bus back to our floating home at Great Kills Harbor (he'd discovered Sotherbys). 

I started off by just looking; trying to take it all in.  The range of quilts was amazing and made me want to rush home and start something new.  (Oh, that cursed UFO box!)  I then saw other people taking photographs so I spent some time hoping my camera would adjust successfully to the low light levels.  

Not all my photos turned out, but enough for a memory jogger as I knew that wonderful book was well beyond my a. budget and b. luggage allowance.  After that, and now with security guards watching me through slitted eyes, I started taking notes.  

Don't you just love that wall colour!!

So, in some sort of historic order, (and almost cryptic summary) we were treated to quilted examples of:

Whole Cloth (1750 to 1850): British legacy & flaunting large pieces of expensive cloth

Chintz & Stencilled (1775 to 1865): showed colonialism’s reach to the Far East

Pieced (1840 to present) meaning, tradition and ritual became strong in designs

Amish (1849): beauty in simplicity and restraint; a strict pattern code

Applique (1840 to 1900’s): in particular Baltimore style’s ravishing storytelling

Log Cabin (1860): described as the beginning of an American “style” and shows pioneering spirit

Crazy (1880 to 1910): quilted, embroidered and enhanced, Victorian in every way; exposure to Japanese crazed ceramics and asymmetrical art at the 1876 Philadelphia Exposition

Signature (1900’s): raising money for good deeds and sharing in times of need

Show or Exhibition (1900’s): introducing cultural & technological advances to an amazed public (Edwardian society)

Colonial Revival (1910-1950): looking to the past for inspiration; represented an ideal rather than reality; felt a need for a simpler life

African American (1920): famous for pushing the limits of our concept of quilt design and manufacture

Contemporary (1960): again the start of a revival; taking new directions and for some no holds barred 

Again, I stress that I don’t want to be too prescriptive.  There are far too many quilt historians out there who really do know what they are on about.  I did find one or two interesting sites to satisfy my curiosity however.  Try Barbara Brackman's Civil War blog (and see if you can't resist making up her weekly blocks!) or this historical summary on Quilters Bee.  There are plenty of others too. 

I don't know about you, but I suffer from time to time with patchwork burnout. You'll recognise the symptoms - lack of inspiration or motivation, wondering why you need to make another quilt, walking past your machine without even stopping to pat it....  I could go on.  Let me tell you, seeing quilts hanging, even if you organise a showing of your own or your group's (finished or not!) is very heart lifting.  So, well done to the AFAM. I’m just sorry I couldn’t get to see Part 2 of the exhibit.

Back to the Met then off to AFAM

I was going to deal with the Met and AFAM together but… 

I spent another whole day (Sep10) surfing the corridors of the Met in NYC.  Again, it was wonderful and again disappointingly, I only covered so little of it.  This time however, my camera died and all I have to show is a couple of photos of paintings by Surrealist, Yves Tanguy.  So this is my Yves Tanguy story. 

Many years ago (truly) a friend challenged me to depict his favourite poem, “The House of Yves Tanguy” by French Poet Andre Breton (1939).  I had visions of bright stars lying scattered like sequins on a velvety dark "night" – more Vincent Van Gogh style – and had not been able to conceptualise beyond that. A little bit corny and not really textile arty!  Clearly I had not seen any work by Tanguy!

The Met however gave me a real buzz.  This was my opportunity to see up close & personal, Tanguy’s amazing surrealist pieces. Described as some of the strangest paintings ever created, my preconceived ideas were challenged!  So after some thought, I’ve taken up my challenge, again - something decorative; something stimulating; something remote. Mind you, there isn’t a whole lot to show for this revival in interest at the moment other than these photos and the odd bit of surfing to discover what surrealism is all about (and what Breton was on about).  Isn’t it rather odd that Breton, author of automatic writing (writing without deliberate thought) requires, if indeed I am to finish above mentioned challenge, so much research and careful thought!      

Another UFO in the making...although, don't hold your breath!

Mystic Seaport - a day with textiles

Everyone who visits Mystic Seaport can’t help but understand what life was like in seafaring communities of old.  Yes, and that’s why we were there too.  But…I couldn’t help notice how much related to textiles.  So here goes a little summary of my day.

Sails: The Sail Loft showcases traditional sailmaking techniques and materials. During the 1800’s, hand sewn sails were made of flax or cotton cloth and hemp or manila boltropes were common.  Sailmakers were often part of a ship’s contingent necessary to undertake repairs of blown out or ripped sails on board.  Now that’s some hand stitching I won’t be undertaking!

Rope: The Ropewalk is a very long building (some 300 yards) where strands of fibre were laid out and then twisted together (laid up) to make rope necessary for maritime use e.g. docklines.  Joins in ropes compromised their strength hence long buildings and resultant unit of measure -- a cable. Some natural fibres used to make rope were coir and sisal.

On the Home Front: Cottons for textiles were either hand loomed or imported and very expensive.  Until the invention of the sewing machine, clothes were hand stitched, as was home napery and bedding.  The quilt on display in the Burrows House is a sting pieced quilt in a spider web pattern, popular in America with frugal quilters during those years .   

Knots:  Whist we are on the subject of rope, knots were used on ships (macramé & other knot work) for practical and decorative purposes. Even today, Turks Head knots grace many a keyring and in some cases, clothing closures can be made from knots rather than buttons.

There was the odd quilt and clothing example as well.  Love the treddle!

Flags: Semaphore flags, National Flags, pennants, pirate flags, courtesy flags, club burgees, bunting and many more.  Military carries their colours into battle. Ships are “dressed” in flags to honour a person or an event.  Flags are about sharing information and have been used throughout history, particularly on battlefields.  Ancient peoples used vexilloids (metal flags), some with pieces of cloth attached.  I read that the first cloth flags were simply pieces dipped in a defeated enemy’s blood and attached to the vexilloids.  In all, flags are pieces of cloth imbued with history and rich in symbolism.

Racing was always a rich man's game

Arty Business in Portland

I first noticed amazing signage in some of the older towns as we meandered our way up the Atlantic ICW.  Colonial Williamsburg has quite a collection too, strongly supported by the Abby Aldrich Rockefeller Folk Art Collection.  Clearly there is a quite a tradition in the US for making great art out of regular, everyday signs. So, I happily snapped away last year, amassing a collection of signage photos, as we bobbed our way up and down the Maine & New England coasts. 

Perhaps the best I saw, as a whole district effort, was in the old dock area of Portland, ME.  Maybe their interest in arty things is influenced by a nearby Art College and heaps of students about town (creative minds sporting colourful tattoos and body piercings).  The historic dock area with cobbled streets and converted warehouses has quite an exhibition of signage and some thought-provoking street sculpture. 

Whist I’m recommending Portland, we enjoyed a pint at Gritty’s then an excellent curry (the real thing – no relation to food hall atrocities) round the corner at Passage to India.  Yum!

So, in all it was worth our while to "look up" as we walked the streets of Portlands historic port area.  We recommend you do too!

Pirates in Provincetown MA

I’ve said a thing or two about Provincetown, MA but I can’t get over the amazing, if not outlandish timberwork on the good ship, Kalmar Nyckel, in town during our stay.  Today’s replica is in fact a faithful representation of the original built in 1625 for the Royal Swedish Navy.  Described as a pirate ship, she managed in her busy schedule to also deliver 4 loads (starting 1638) of early settlers across the Atlantic to “New Sweden” before succumbing to wild storms and sinking at sea.  

The Kalmar Nyckel is heavily dressed with mythical creatures to avert dangers lurking in the seas feared by a superstitious crew.  

Figureheads could call in fair winds and following seas.  The supurb figurehead on the Kalmar Nyckel, a lion, has two tails – one for the old ship and one for the new.  The lion has been long associated with wealth, power and prosperity.  In some cases, it also represents an association with royalty and was a favourite figurehead for warships. 

Carved faces on the stern represent “sponsors” and persons of import who helped financially & otherwise in moving the ship building venture from a dream to reality.  They are carved with whimsy and humour and painted in bold colours to ensure their message of prosperous ventures. Better than a rabbit's foot, wouldn't you say?

 

This lovely lady is a wonderful sight in our “grey suit” world; a reminder of our need for good luck charms – then as now.   This message is not lost on the people of Delaware, as the Kalmar Nyckel is their appointed goodwill ambassador.