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.)

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