The blossoming art The blossoming art of Rico Tica of Rico Tica

Journal of Literature and Art Studies, 2013

This paper documents the works and lives of selected visual artists from Panay provinces. The selection of the artist was based on meeting at least two of the following criteria: (1) The artist should have a major award(s) in any prestigious national fine arts contests which included the MADE (Metrobank Art and Design Excellence), AAP (Art Association of the Philippines), Petron, GSIS (Government Service Insurance System), and the Biennial Dumaguete Open Terra Cotta Festival contests; (2) He/she should have had one-man or two-man exhibitions at reputed galleries; and (3) He/she should be active in the local art scene, meaning, a continuous schedule of exhibits during the past three years. Mostly self-taught, the artists' artistic inclinations manifested early in childhood when they discovered their talents; this led to their resolve to seriously pursue with enduring fervor their art careers. Their sense of calling amid a less ideal art scene did not give way to the voice of conformity but they have maintained a clear sense of identity and destiny as inspiring art icons in their milieu. The analyses of the works of these artists lead to the observation of the Panayanon artistic tradition. Aside from the formalist descriptions of the artworks' features, the analyses go further into the contextual and evaluative levels that reveal a highly nuanced meaning and semantic richness of the works. The paintings and sculptural pieces of the artists are expressions of their true "voices", fresh innovations that have earned accolades even if these innovations are untamed by the academe.

The research paper contains information related to Contemporary Philippine Arts from the Regions. It was a research work for the said subject.

2016

This study analyses the authenticity of Tingatinga style in the Tingatinga Painting School and explores factors that influenced the stylistic evolution of the first and second generations. The term “school” in this context refers to a group of artists deploy a similar style in their work and not an educational institution. The study compares and contrasts the styles of the two generations Tingatinga paintings in terms of their form and content. Specifically, the study explores whether the present-day Tingatinga paintings are authentic in addition to analysing the factors that account for stylistic changes. Such information is of immense interest to scholars, museum curators, art collectors, tourists and gallery owners at home and abroad. The findings indicate that the changes that occur in Tingatinga art constitute a stylistic evolution in response to cultural change in society. One should not expect, for instance, a Tingatinga painter who flourished in 2011 to paint like the one wh...

2009

access to global ideas and materials. Sixty-two oil paintings were examined and, unlike the works in the fi rst case study, were mainly secular in their subject matter. The majority of works are by artists connected to the University of the Philippines School of Fine Arts (UPSFA), then the art academy in the Philippines.3 According to Luciano Santiago, the early twentieth-century works in the JB Vargas Collection ‘reads like the who’s who in the history of art in the Philippines’4, and one could consider it to represent oil painting practice in the Philippines during this time frame. The key objective is to review the material evidence in view of the artistic discourses that informed each practice, whether they were Western, indigenous or Chinese in origin, or something other than these. The supply of materials and production processes in the Philippines is also another area of investigation that allows us to assess the material options available to artists and why certain products ...

The Spanish colonization of the Philippines from 1565 to 1898 brought about profound changes in the life and art of the Filipinos. Although some indigenous art forms survived, new forms and influences from Europe and America gradually became the dominant culture. When Spanish missionaries embarked on their campaign to Christianize the Filipinos, they harnessed the visual arts to great effect. Using the colorful pageantry of the Roman Catholic Church, the new evangelists so enchanted the natives that they had little difficulty winning them over and instructing them in the new faith. Religion was thereafter to provide such great impetus for the visual arts that in virtually every art form the sacred aspect became far more developed than the secular, thus continuing the intimate relationship between art and religion long established in ancient Filipino belief systems. However, while the colonizers were Spanish, a significant portion of artistic influences was not. The Chinese arrived in greater numbers from southeastern China to offer goods for the galleon trade and to sell services in the city of Manila. But there were periods when the Chinese would be expelled by the Spaniards from the colony in the mutual love-hate relationship between the two races. Filipinos benefited from this situation by mastering the Chinese skills so useful to the colonizers and practicing them when the Chinese were absent. With the galleon also came the Mexicans, whose cultural influence on the Filipinos, and vice versa, has until now received scant attention from scholars. Together, Portuguese, Italian, and even Bohemian priests evangelized with other missionaries. In the 19th century, English, French, American, German, and other nationalities also settled in Manila, further enriching the cultural milieu. Rituals and processions were the first visual aids. From the technologies used in crafting ritual paraphernalia developed the various visual art forms which characterized the Spanish colonial period: sculpture, painting, printmaking, furniture, fine metalwork, metal casting, textile arts, and fiesta decor. Sculpture Of all the arts, sculpture was the most familiar to the Filipinos. The carving of anito, images of the native religion, was replaced by the carving of santos, images of Christ and the saints. Technically, the transition may not have been too difficult, as the Filipinos were already familiar with the ways of wood, but adjustments had to be made on proportion and style. In time, santos took on the iconography of their Western prototypes.

RFR XXVI, 2019

The research presents a study of Japanese botanical artworks from historic drawing, watercolour illustrations, paintings, woodblock prints to contemporary photography, using a mixed-methods approach to analyze the artistic and cultural background. It investigates the impact of ikebana – the Japanese art of flower arranging on floral images nowadays. With innovative techniques and significant approach to flowers, Makoto Azuma celebrated creativity's role in the contemporary art world. Through studying artists’ working experience, celebrating their creative achievements and contributions to the international art world, we can discover important insights and an avant-garde approach to contemporary art. What is the motivation to recover a Japanese special sense of beauty – Mono no avare (物の哀れ) in the 21st century? This issue examined in the paper.

FILIPINAS Journal of the Philippine Studies Association, Inc., 2020

A review of the print and digital editions of the CCP Encyclopedia of Philippine Art, 2nd ed. published by the Cultural Center of the Philippines.

Published in n.paradoxa: international journal of feminist art , 2012, 2012

Cai Jin is one of the few women artists whose paintings were included in ground–breaking exhibitions promoting contemporary Chinese art in the 1990s, such as China’s New Art, Post-1989 and Mao Goes Pop: China post-1989.1 Her works have also regularly featured in exhibitions in China, Australia and Hong Kong devoted specifically to the art of Chinese women, many of which have been framed in terms of a gender-specific approach to art-making.2 These include Women’s Approach to Contemporary Art (1995), Woman and Flower (1997), Women’s Work (2008) and, most recently, Nu Yishu Series V: Viriditas (2011).3 Nu Yishu translates as ‘female art’ while viriditas is glossed in the exhibition’s media release as ‘lushness and vitality…freshness, fertility, fecundity, fruitfulness, verdure, or growth.’4 This title, like that of the earlier Woman and Flower exhibition, points to a “botanical turn” that is apparent in the work of women artists from China. What does this tendency reveal about contemporary Chinese notions of the feminine?5 Do such works simply participate in the age-old association of femininity with nature or should they be viewed as part of a feminist project?