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.)

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.

Cape Cod’s Early Days

Woods Hole has a small but well stocked museum which showcases life from the late 1800’s to early 1900’s when the area was a popular summer escape for busy city workers.  Life was relaxed, living easy and seafood plentiful. 

Shingle “cottages” from those days line Buzzards Bay and surrounding foreshores. They were built by wealthy families as summer homes.   In 1928, the patriarch of the famous Kennedy clan purchased his summer house at nearby Hyannis Port, so you’ll understand it’s a bit of an upmarket neighbourhood. Tourists understandably still flock to this area, now home to the busy Woods Hole Oceanographic Institute (since 1930). 

The Woods Hole Museum also has an extensive collection of water craft that were popular during those heady days with both fisherman and residents. Local craftsmen still test their skills, regularly making small craft in the old fashioned way – by hand.  We saw a beautiful dinghy up for raffle.  Just what we need - another boat!      

This local Museum is staffed by affable volunteers who take a keen interest in their home town and can tell stories of their forebears.  It’s rather like sharing a family photo album. 

Just to add some layers of textile interest, I just loved the ladies summer frocks and beautifully embroidered umbrella.  A stunning red work quilt was also on display.  (Family of David Cloos). 

Travellers are we. Our best advice to make the most of your stay in any new area is to (a.) take a local (bus/guided) tour and (b.) visit a local museum.  You really find out what makes the area and its people tick.

Almost a brush with fame

Since becoming a slave to marina book exchanges, my reading matter has grown to cover all manner of subject.  Let me tell you how popular Clive Cussler is!  And did I mention that Dirk Pitt is hot on the trail of all those nasty types? Yes, yes, I’m a NUMA junkie….   It started with my addiction to Sea Hunt.  Remember that 1960’s TV show with Lloyd Bridges as famous hunk, Mike (blub, blub and then I saw it..) Nelson. 

So it was with some surprise that we came upon the USS Deep Quest in a marina berth located in downtown Stirling Harbor. Dressed for action in basic black, accessorised with Jet Ski and menacing machine gun, this mini-sub looked just perfect for a starring role in the next Cussler thriller. The only thing lacking was a jaunty Dirk Pitt leaning on an outrageously expensive car. Well, maybe next time!

The marina is also home to the cutest little tug.  He’s actually a working lad; not a thrill or a pleasure seeker.  But I swear I saw him in a Disney movie once!  The Cap’n thinks I’ve been doing way too much reading lately!

A Sailor's Lounge book exchange is a wonderful thing.  I've discovered so many interesting authors that I would have otherwise not known about or ignored.  Orhan Pamuk is an example - I found his novel "Red" in our boatyard laundry in Trinidad.  A similar book exchange concept here in my own neighbourhood is a "Street Library".  It's all such a great way to encourage reading and neighbourliness..  Don't we all need a little trust and kindness?

Not Your Average Camera…

Finally back at the helm with a few interesting observations from our last cruising season cruising.  Now I know this isn’t exactly textile talk but…. 

We arrived in Greenport in August on a grey and stormy day.  As always, we were seeking shelter and deep water.  Greenport village had it all – history, friendly people, a boutique brewery and one of a number of curiosities, a camera obscura. 

Camera obscura,” meaning darkened room” is an optical device with a long history; Greek philosopher Aristotle (384-322 BC) is said to have been familiar with the concept.   Essentially, it is a device enabling an image of surroundings to be projected onto a screen; colour and perspective are conserved.  So, it’s hardly surprising that Leonardo da Vinci knew of it.  By the time artists were travelling and sketching “en plein air” in the 18^th c, the camera obscura had assumed more modest and portable proportions.  I am sure we made one using a shoe box at school too (but that wasn't in the 18^th c!).

So, why was I interested?  Well, the camera obscura was indeed a pre-curser to the invention of one of my favourite bits of kit – a camera.  And then, there’s Grand Designs.  Yes, Kevin McCloud had taken us on a tour of a London build “The Jewel Box” in his second series of "Grand Designs".  The owners had incorporated a camera obscura into specially designed blinds, which allowed an image of the house to be projected onto a wall in their studio.  Amazing stuff!

Sadly, the camera obscura in Greenport’s Mitchell Park was closed on the day we visited.  Good light is a pre-requisite and those storm clouds were still lurking about as you can see from our photos!  One day, I’ll find one and it will be open…

Sting Ray Quilters

Deltaville VA: 2 Aug 2010  

Martha busy at work guarded by Buddy & Otis

Martha and her husband own a NAPA (car bits & pieces shop) just off the road to Deltaville Marina.  Over a side door is a sign for her business, “Martha’s Long Arm Quilting”.  I had been meaning to stop in and now wished I had made the effort a lot sooner!  Martha is a member of the Sting Ray Quilters, the local Deltaville quilting group meeting monthly at a nearby church hall.  I was invited to come along and meet some very keen quilters. 

Sting Ray Quilters

This popular group (nearly 40 attended that night) makes block of the month raffles, raffles a monthly mini-quilt and gives out birthday fat quarters, offers regular workshops for its members and supports charitable quilt making. Phew!  That’s a busy group.  And despite all this activity, some ladies even manage to make a quilt or two for themselves as well.  Jeanne Rose gave us a lesson on woollen penny quilts that night and I was surprised with a Garden Blossoms kit as a gift.  Sue kindly drove me (and my bike) home to C Dock.  It turned out Sue’s husband had made the frames for our solar panels.  As they say - it’s a small world.

Show and Tell with Sting Ray Quilters

Whilst at Martha’s I had a quick look at her computerised Gamil and peeked at various patterns that she was able to program into it to create rather nice quilted effects. I'm having thoughts about bringing some UFO's back with me next year as sadly I doubt I could fit one of those enormous machines in my garden shed!  Martha is keenly supervised by Buddy and Otis, two very stately hound dogs and guests are closely eyed by an alert blue heeler.  Now, that’s just what I need to keep the boys out of my garden shed!