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    The Contexts of Art

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    maisabelmarla17

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    The Contexts of Art

    Uploaded by

    maisabelmarla17
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    5 views62 pages

    The Contexts of Art

    Uploaded by

    maisabelmarla17

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 62

    NCTXOET

    the

    CONTEXT
    of ART
    CONTEXT
    setting,conditions, circumstances,
    and occurrences affecting production
    and reception or audience response
    to an artwork
    CONTEXT
    a set of background information.
    by recognizing context, we
    acknowledge art’s interaction with
    active forces in the society: social,
    political, economic, religious, and
    historical to name a few.
    Example:

    “Bulul”
    contains elements of sculpture but is not
    regarded as such by its maker.
    IMPORTANT FACTS:
    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.
    Thus, we can see the bulul, though
    ancient in origin continues to be
    contemporary…
    Gaston Damag
    CONTEXT: Exhibition system
    DOMAIN: Contemporary Art in Fine Arts
    Paris-based artist
    What happens to an object
    (art) when it is removed from
    its original context and
    changes in function?
    What are the different
    contexts of art?
    a. Artist’s background

    age, gender, culture, economic


    conditions, social environment, and
    disposition.
    Betis Pampanga
    sculpture is learned through “apprenticeship”
    with a

    matekanan mandukit/
    master sculptor
    Red paper MÂCHÉ
    sculpture of horse/ “Taka”
    Paete Laguna
    is for
    EXPORT or LOCAL SALE
    In
    the Gallery and Museum
    setting, the
    UNIQUENESS and
    INDIVIDUAL EXPRESSION
    is given much IMPORTANCE
    Some artists deliberately
    foreground their
    CULTURAL IDENTITY
    in their works
    The Tausug National Artist
    ABDULMARI ASIA IMAO
    (awarded 2006)
    integrate culture of Mindanao like
    the mythical SARIMANOK
    SARIMANOK
    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
    JULIE LLUCH
    from ILIGAN CITY

    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 oppressive and
    unpleasant.
    “CUTTING ONIONS ALWAYS MAKES ME CRY 1988”
    Travels, training, and professional
    development broadens the artist’s
    horizons.

    Migration provides the artist with a


    different set of material conditions
    b.Nature
    source of inspiration and a
    wellspring of materials for art
    production.
    T’nalak
    uses abaca fibers
    producing forms inspired by nature:
    kleng(crab), gmayaw (bird in fight) tofi
    (frog), and sawo( snake skin).
    T’nalak
    T’nalak
    is evocative of the people’s belief that
    spirits reside with people in the natural
    environment
    NELFA QUERUBIN-TOMPKINS
    has experimented with iron-rich San
    Dionisio Clay sourced from her native
    Iloilo.
    BLACK POTTERY by Nelfa Querubin
    NATURE
    is also the
    ENVIRONMENTAL CONDITIONS.
    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.
    Fango, cogon, and the traditional Ivatan House
    JUNYEE
    made an ephemeral installation at the
    grounds of the CCP titled
    “Angud, a forest once(2000)”.
    “Angud, a forest once(2007)”
    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”.
    Photos by Veejay Villafranca
    FERNANDO AMORSOLO
    painted land scapes as a romantic picture
    RICARTE PURUNGGANAN
    depicted nature as an “uncontrollable force” in his TOILERS OF THE SEA, 1980
    (photo not available in google)
    c. Everyday Life

    Philippine traditional art has always been an


    integral part of daily life.
    Its significance lies not only in its aesthetic
    appearance but also in its functionality and
    value to the society where it’s produce
    Pabalat of the Bulacan
    Lirio Salvador
    a Cavite-based artist
    fuses easily accessible objects like
    machine discards, bicycle parts, and
    implements to form an assemblage.
    Lirio Salvador’s “Sandata ni Shiva”
    MM YU
    (photographer)

    captured interesting patterns and forms


    often overlooked in the city.
    Photos by MM YU
    d. Society, Politics,Economy, and History
    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
    “changes in the society, politics, and
    economy affects the artists, the work
    that they do, and the structures that
    support their production…”
    “Technological innovations engender
    shifts in artistic production…”
    th
    20 Century
    PHOTOGRAPHY became accessible to local
    photographers as “Kodak” set up shop in the
    Philippines in 1928.
    PHOTOGRAPHY fulfilled documentary and
    artistic functions.
    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
    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
    BENEDICTO CABRERA’S
    “Brown Brother’s Burden” 1970
    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.
    e. Mode of Reception

    WHEN, WHERE, and HOW art is encountered.


    “MUSEUM’s power lies
    in its ability to
    construct knowledge for us…”
    “RECEPTION
    is very much affected by our level of
    exposure to art forms…”
    MIDEO CRUZ’S “Poleteismo”
    at the exhibit entitled “Kulo”

    PROMINENT or NOTORIOUS?
    “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 the my colleagues in
    this exhibition,”
    “The artist’s AGE, GENDER, CULTURE,
    ECONOMIC CONDITIONS, SOCIAL
    ENVIRONMENT, and DISPOSITION affect
    PRODUCTION as well as RECEPTION…”

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