Plop art

Plop art, a term originally coined by architect James Wines in a 1970 essay, refers to public art — usually large, abstract, modernist or contemporary sculptures—placed in government or corporate plazas, spaces in front of office buildings, skyscraper atriums, parks, and other public venues. The term is pejorative, suggesting that such works are thoughtlessly "plopped" into their surroundings, often without regard to scale, context, or interaction with the public space​​​​.

Critics like British sculptor Rachel Whiteread have echoed these sentiments, arguing that many pieces of public sculpture are ill-considered "plop art," failing to engage with their environment and becoming little noticed as part of the landscape​​. This perspective highlights a disconnect between the art's intention and the public's reception.

Despite its criticism, the term has been reappropriated by some defenders of public art funding. For instance, the book "Plop: Recent Projects of the Public Art Fund" celebrates the success of the Public Art Fund in financing many publicly placed works of art over the last few decades, suggesting that initial skepticism can evolve into admiration and acceptance​​.

Samantha L. Alfrey, in her thesis "Occupy Plop Art: Public Sculpture as Site of Antagonism," examines instances where "plop art" has been engaged by citizens for various ends, both artistic and political. By looking at how these sculptures can become symbols for entities with which citizens wish to communicate, Alfrey suggests that "plop art" can create forms of engagement that redefine its value beyond mere aesthetics​​.

In essence, the term "plop art" captures a debate within the art community about the role of public art in urban spaces, the criteria for its placement, and its engagement with the public. The ongoing discourse suggests that the success of such artworks might be measured not just by their visual impact, but by the interactions and dialogues they inspire within the communities they inhabit.