CONTEXT OF ART

A presentation covering the Lesson: CONTEXT OF ART in the subject CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS

1. N C T X O E T

2. the CONTEXT of ART

3. setting,conditions , circumstances, and occurences affecting production and reception or audience response to an artwork CONTEXT

4. a set of background information . CONTEXT

5. by recognizing context, we acknowledge art’s interaction with active forces in the society: social, political, economic, religious, and historical to name a few.

6. contains elements of sculpture but is not regarded as such by its maker. “ Bulul ” Example:

7. a remarkable bulul collection can be viewed in storage at Hiwang Village;Banaue , Ifugao . Locals can see the said collection at H.Otley Beyer Museum located in the Vicinity. The Bencab Museum in Baguio City also has a big collection of bululs . IMPORTANT FACTS:

8. Thus, we can see the bulul , though ancient in origin continues to be contemporary…

9. Gaston Damag CONTEXT : Exhibition system DOMAIN: Contemporary Art in Fine Arts

10. What happens to an object (art) when it is removed from its original context and changes in function?

11. What are the different contexts of art?

12. age, gender, culture, economic conditions, social environment, and disposition. a. Artist’s background

13. Betis Pampanga sculpture is learned through “ apprenticeship” with a matekanan mandukit / master sculptor

14. Red paper MÂCHÉ sculpture of horse/ “Taka” Paete Laguna is for EXPORT or LOCAL SALE

15. In the Gallery and Museum setting, the UNIQUESNESS and INDIVIDUAL EXPRESSION is given much IMPORTANCE

16. Some artists deliberately foreground their CULTURAL IDENTITY in their works

17. The Tausug National Artist ABDULMARI ASIA IMAO (awarded 2006) integrate culture of Mindanao like the mythical SARIMANOK

18. SARIMANOK

19. The “ Talaandig ” artists from BUKIDNON on the other hand, express their affinities with the land by using soil instead of pigments and painting about their present concerns

20. emphasize her female identity and personal experiences in many of her TERRACOTTA WORKS. in “CUTTING ONIONS ALWAYS MAKES ME CRY”, 1988, her self-portrait presents cooking --- a role associated with women in the home--- as oppresive and unpleasant. JULIE LLUCH from ILIGAN CITY

21. “CUTTING ONIONS ALWAYS MAKES ME CRY 1988”

22. Travels , training , and professional development broadens the artist’s horizons. Migration provides the artist with a different set of material conditions

23. source of inspiration and a wellspring of materials for art production. b.Nature

24. uses abaca fibers producing forms inspired by nature: kleng (crab), gmayaw (bird in fight) tofi (frog), and sawo ( snake skin). T’nalak

25. T’nalak

26. T’nalak is evocative of the people’s belief that spirits reside with people in the natural environment

27. NELFA QUERUBIN-TOMPKINS has expiremented with iron-rich San Dionisio Clay sourced from her native Iloilo.

28. BLACK POTTERY by Nelfa Querubin

29. NATURE is also the ENVIRONMENTAL CONDITIONS .

30. The traditional Ivatan houses in Batanes are built using stones and fango for its walls, a kind of mortar formed by combining cogon and mud bits.

31. Fango , cogon, and the traditional Ivatan House

32. JUNYEE made an ephemeral installation at the grounds of the CCP entitled “ Angud , a forest once (2000) ” .

33. “ Angud , a forest once (2007)”

34. VEEJAY VILLAFRANCA one of the photographers who warned the public about the alarming effects of climate change, and how it forces people to become “refugees in their own land”.

35. Photos by Veejay Villafranca

36. FERNANDO AMORSOLO painted landscapes as a romantic picture

37. RICARTE PURUGANAN depicted nature as an “uncontrollable force” in his TOILERS OF THE SEA , 1980 (photo not available in google )

38. Philippine traditional art has always been an integral part of daily life. c. Everyday Life

39. Its significance lies not only in its aesthetic appearance but also in its functionality and value to the society where it’s produce

40. Pabalat of the Bulacan

41. Lirio Salvador a Cavite-based artist fuses easily accessible objects like machine discards, bicycle parts, and implements to form an assemblage.

42. Lirio Salvador’s “ Sandata ni Shiva”

43. MM YU (photographer) captured interesting patterns and forms often overlooked in the city.

44. Photos by MM YU

45. Although art is a form of expression, we discern that thoughout its history, the works are not always created out of the artist’s own volition d. Society, Politics,Economy , and History

46. “changes in the society, politics, and economy affects the artists, the work that they do, and the structures that support their production…”

47. “ Technological innovations engender shifts in artistic production…”

48. 20 th Century PHOTOGRAPHY became accessible to local photographers as “Kodak” set up shop in the Philippines in 1928.

49. PHOTOGRAPHY fulfilled documentary and artistic functions.

50. DALAGANG BUKID by Hermogenes Ilagan and Leon Ignacio, Directed by Jose Nepomuceno (1919) is the basis of the first film to be directed by a Filipino

51. DID YOU KNOW? During Nepomuceno’s time, technology integrating music was not yet available, so the latter would be produced through “a capella ” while the movie ran. ATANG DE LA RAMA (NATIONAL ARTIST) is a singer-actress who would sing in such movies

52. BENEDICTO CABRERA’S “Brown Brother’s Burden” 1970

53. APPROPRIATION the technique of transforming existing materials through the juxtaposition of elements taken from context and replacing these in another to present alternative meanings, structure, and composition.

54. WHEN, WHERE, and HOW art is encountered. e. Mode of Reception

55. “ MUSEUM’s power lies in its ability to construct knowledge for us…”

56. “ RECEPTION is very much affected by our level of exposure to art forms…”

57. PROMINENT or NOTORIOUS? MIDEO CRUZ’S “ Poleteismo ” at the exhibit entitled “ Kulo ”

58. “I never go out of my way to offend; but I do like to provoke debates and critical thinking. Art is a way of expressing one’s views about the world, culture and history, and this is what I do in my work. The audience is free to make their own conclusions and interpretations about the images I create, but I must confess I didn’t expect for anyone to react so violently against ‘ Poleteismo .’ The worse that I would’ve expected is for no one to come to the CCP and see my work or those of my colleagues in this exhibition,” 

59. “ The artist’s AGE, GENDER, CULTURE, ECONOMIC CONDITIONS, SOCIAL ENVIRONMENT, and DISPOSITION affect PRODUCTION as well as RECEPTION…”

60. QUIZ TIME!!! GOOD LUCK EVERYONE!

61. #1 a set of background information .

62. #2 Its power lies in its ability to construct knowledge for us

63. #3 is very much affected by our level of exposure to art forms

64. #4 the technique of transforming existing materials through the juxtaposition of elements

65. #5 WHEN, WHERE, and HOW art is encountered .

66. DID YOU PASS?

67. A n n Juneva A . L o z a n o , L P T a a l o z a n [email protected] THANK Y O U !