10
ARTS
Quarter 1 – Module 2
MODERN ART
(Abstract Expressionism, Pop Art, Op Art,
Installation Art and Performance Art)
0|P a g e
ARTS
Quarter 1 – Module 2: MODERN ART (Abstract Expressionism, Pop Art, Op Art,
Installation Art and Performance Art)
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the
Government of the Philippines. However, prior approval of the government agency or office wherein the
work is created shall be necessary for exploitation of such work for profit. Such agency or office may,
among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks,
etc.) included in this book are owned by their respective copyright holders. Every effort has been exerted
to locate and seek permission to use these materials from their respective copyright owners. The
publisher and authors do not represent nor claim ownership over them.
Regional Director: Gilbert T. Sadsad
Assistant Regional Director: Jessie L. Amin
Development Team of the Module
Writer: Melody P. Borbor
Editors: Eva Edna Carinan and Joan S. Barallas
Reviewer: Maria Teresa P. Borbor
Illustrator: Henny Ray Daet
Layout Artist: Melody P. Borbor, Antonio L. Morada
1|P a g e
GRADE 10 ARTS 1ST QUARTER MODULE 2 – Week 2
MODERN ART
(Abstract Expressionism, Pop Art, Op Art, Installation Art and Performance Art)
The abstract expressionists were mostly based in New York City, and also became
known as the New York school. The name evokes their aim to make an art that was so
expressive or emotional in its effect. They were inspired by the automatism of the artist Joan
Miŕo and by the surrealist idea that an art should come from the unconscious mind.
What I need to know
Hello learner. At the end of this module you will be able to:
1. Analyze art elements and principles in the production of work following a
specific art style from the various art movements. (A10EL-Ib-1)
2. Identify distinct characteristics of arts from the various art movements.
(A10EL-Ia-2)
3. Identify representative artists and Filipino counterparts from the various art
movements. (A10EL-Ia-3)
Vocabulary List
Let’s first familiarize the following terminologies that you’ll encounter during our lesson
proper. These words will help you understand more the concept of our new lesson today. Feel
free to read them for your advance information.
• Abstract Expressionism–best known for large-scale paintings that break away from
traditional processes, often taking the canvas off of the easel and using unconventional
materials such as house paint.
• Action painting – painting worked on huge canvases spread on the floor, splattering,
squirting, and dribbling paint with (seemingly) no pre-planned pattern or design in mind.
• Color Field Painting – used different color saturations (purity, vividness, intensity) to
create their desired effects.
• Neo-dadaism - often sought to encourage viewers in looking beyond traditional
aesthetic conventions and derive their own meaning through critical thinking. They
focused on absurd juxtapositions, mixed signals and coded narrative, rather than the
internal emotions behind the actions of the painter in their abstract works.
• Pop Art – an art in which commonplace objects (such as comic strips, soup cans, road
signs, and hamburgers) were used as subject matter and were often physically
incorporated in the work.
• Op Art - also called optical art, branch of mid-20th-century geometric abstract art that
deals with optical illusion. Achieved through the systematic and precise manipulation
of shapes and color. The effects of Op art can be based either on perspective illusion
or on chromatic tension; in painting, the dominant medium of Op art, the surface
tension is usually maximized to the point at which an actual pulsation or flickering is
perceived by the human eye.
2|P a g e
• Conceptual art - arose in the mind of the artist, took concrete form for a time, and then
disappeared (unless it was captured in photo or film documentation).
• Installation Art - is a contemporary art form that uses sculptural materials and other
media to modify the way the viewer experiences a particular space.
• Performance Art - a form of modern art in which the actions of an individual or a group
at a particular place and in a particular time constitute the work.
What I know
Before we proceed with our lesson today, let’s see if you already have prior knowledge
about the following artists and art movements. Use your activity notebook in answering the
following questions. Choose the letter of the correct answer. Write the letter only.
1. When did the abstract expressionism emerge as an important style in the field of art?
a. during the great depression b. just after World War II
c. during World War II d. just before World War II
2. Which of the following names was NOT considered a well-known Abstract Expressionist
painter?
a. Willem de Kooning b. Lee Krasner
c. Jackson Pollock d. Grant Wood
3-5) For items 3-5, look at the pictures or images drawn below. Identify the art movement
that each picture represents and refer to the choices below for your answers. Write the letter
only.
a. neo-dadaism b. pop art
c. installation art d. abstract expressionism
3. 4. 5.
3|P a g e
Time to Read!
Abstract Expressionism is a term that referred to a movement in American painting
that flourished in New York City after World War II, sometimes appertained to the New York
School or, more narrowly, known as action painting. The varied work produced by the Abstract
Expressionists refused a determining cohesive style; instead, these artists shared an interest
in using abstraction to convey strong emotional or expressive content.
Abstract Expressionism is best known for large-scale paintings that break away from
traditional processes, often taking the canvas off of the easel and using unconventional
materials such as house paint. While Abstract Expressionism is often considered for its
advancements in painting, its ideas had deep resonance in many mediums, including drawing
and sculpture.
TWO TYPES OF ABSTRACT EXPRESSIONISM
Action Painting
One form of abstract expressionism was seen in the works of Jackson Pollock. These
were created through what came to be known as “action painting.”
Pollock worked on huge canvases spread on the floor, splattering, squirting, and dribbling
paint with (seemingly) no pre-planned pattern or design in mind. The total effect is one of
vitality, creativity, “energy made visible.” Pollock’s first one-man show in New York in 1943
gained focused of worldwide attention on abstract expressionism for the first time.
Autumn Rhythm
Jackson Pollock, 1950
Oil oncanvas
4|P a g e
Color Field Painting
In contrast to the vigorous gestures of the action painters, another group of artists who
came to be known as “color field painters” used different color saturations (purity, vividness,
intensity) to create their desired effects. Some of their works were huge fields of vibrant
color—as in the paintings of Mark Rothko and Barnett Newman.
Magenta, Black, Green
VirHeroicusSublimis
on Orange
Barnett Newman, 1950-1951
Mark Rothko, 1949
Oil oncanvas
Oil oncanvas
Others took the more intimate “pictograph” approach, filling the canvas with repeating
picture fragments or symbols—as in the works of Adolph Gottlieb and Lee Krasner.
Forgotten Dream Abstract No. 2
Adolph Gottlieb, 1946 Lee Krasner, 1948
Oil oncanvas Oil oncanvas
5|P a g e
After “The New York School”
By the early 1960s, the momentum of The New York School slowed down. In its place,
a new crop of artists came on the scene using lighter treatment and flashes of humor, even
irreverence, in their artworks.
The movements they brought about have come to be called:
• Neo-dadaism and pop art
• conceptual art
• op art
• the new realism
Neodadaism, Pop Art, Op Art
Like the dadaist movement that arose after World War I, the neo-dadaism of the
1960s wanted to make reforms in traditional values. It also made use of commonplace, trivial,
even nonsensical objects. But unlike the angry, serious tone of the original dadaists, the neo-
dadaists seemed to enjoy nonsense things for its own sake and simply wanted to laugh at the
world.
Their works ranged from paintings, to posters, to collages, to three-dimensional
“assemblages” and installations. These made use of easily recognizable objects and images
from the emerging consumer society—as in the prints of Andy Warhol. Their inspirations were
the celebrities, advertisements, billboards, and comic strips that were becoming
commonplace at that time. Hence the term pop (from “popular”) art emerged.
Twelve Cars Marilyn Monroe
Andy Warhol, 1962 Andy Warhol, 1967
Art print Silkscreen print
Roy Lichtenstein (1923-1997) was an American pop artist. During the 1960s, along
with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading
figure in this new art movement.
6|P a g e
Whaam!
Roy Lichtenstein, 1963
Acrylic and oil on canvas
In the Car
Roy Lichtenstein, 1963
Acrylic and oil on canvas
Conceptual Art
As the term implies, conceptual art was that which arose in the mind of the artist, took
concrete form for a time, and then disappeared (unless it was captured in photo or film
documentation). Conceptualists questioned the idea of art as objects to be bought and sold.
Instead, they brought their artistic ideas to life temporarily, using such unusual materials as
grease, blocks of ice, food, even just plain dirt.
A key difference between a conceptual artwork and a traditional painting or sculpture
is that the conceptualist’s work often requires little or no physical craftsmanship. Much of the
artist’s time and effort goes into the concept or idea behind the work, with the actual execution
than being relatively quick and simple. An example is this conceptual art piece by Kosuth.
One and Three Chairs
Joseph Kosuth, 1965
An actual chair (center), with a photograph of the
same chair and an enlarged copy of a dictionary
definition of a chair
7|P a g e
Op Art
Another movement that emerged in the 1960s was optical art or “op art.” This was
yet another experiment in visual experience—a form of “action painting,” with the action taking
place in the viewer’s eye. In op art, lines, spaces, and colors were precisely planned and
positioned to give the illusion of movement.
Current
Bridget Riley, 1964
Synthetic polymer paint on composition board
As the eye moved over different segments of the image, perfectly stable components
appeared to shift back and forth, sometimes faster, sometimes slower as the brain responded
to the optical data. Viewers experienced sensations varying from discomfort to disorientation
to giddiness.
ACTIVITY 1 – ABSTRACT EXPRESSIONISM
In your activity notebook, copy the table below and supply the columns with the
necessary information that is/are being asked.
ACTION PAINTING COLOR FIELD
PAINTING
Characteristics
Famous Artist and his artwork
Description how the elements
and principles of art were
used
ACTIVITY 2 – CONCEPTUAL ART (Neodadaism, Op Art, Pop Art)
Answer the following questions. Write your answers in your activity notebook.
1. What is conceptual art? How does it differ from other art movements that immerged
earlier before it has developed?
2. What makes neo-dadaism different from the earlier dadaism movement?
3. From where did pop art draw its subjects?
4. Name the foremost artists of the pop art movement.
5. Explain how the elements of art were used to create the special
technical effect in op art.
8|P a g e
Installation Art and Performance Art
The 20th century also saw the rise of new art forms of painting and sculpture aside
from the traditional ones. Among these were installation art and performance art.
Installation art makes use of space and materials in truly innovative ways, while performance
art makes use of the human body, facial expressions, gestures, and sounds. Both speak
powerfully about contemporary issues, challenging their viewers to respond.
Installation art is a contemporary art form that uses sculptural materials and other
media to modify the way the viewer experiences a particular space. Usually life-size or
sometimes even larger, installation art is not necessarily confined to gallery spaces. It can be
constructed or positioned in everyday public or private spaces, both indoor and outdoor.
Cordillera Labyrinth
Roberto Villanueva, 1989
Bamboo and runo grass
Outdoor installation at the Cultural Center of the Philippines
Pasyon at Rebolusyon
Santiago Bose, 1989
Mixed Media Installation
9|P a g e
Go to Room 117
Sid Gomez Hildawa, 1990
Mixed Media Installation
Four Masks
Edgar Talusan Fernandez, 1991
Outdoor installation
Materials used in today’s installation art range from everyday items and natural
materials to new media such as video, sound, performance, and computers.
It may be said that primitive forms of this art have existed since prehistoric times.
However, this genre was not regarded as a distinct category until the mid-20th century and
only came to prominence in the 1970s. The installation artist’s manipulation of space and
materials has also been called “environmental art,” “project art,” and “temporary art.”
Essentially, installation art creates an entire sensory experience for the viewer. Many
installations are of a size and structure that the viewer can actually walk through them, and
experience varying facets of the work in stages. Some works allow the viewer to touch or feel,
hear, and smell elements that the artist has incorporated in the installation. Thus, there is a
strong parallel between installation art and theater. Both play to an “audience” that is expected
to interact with and be affected by the sensory experience that surrounds them.
Performance art is a form of modern art in which the actions of an individual or a group
at a particular place and in a particular time constitute the work. It can happen anywhere, at
any time, or for any length of time. It can be any situation that involves four basic elements:
10 | P a g e
• time
• space
• the performer’s body
• a relationship between performer and audience.
I n p erfor m an ce art, t h e p er f or m e r h i m s e l f
o r herself is th e artist.
Performance art does include such activities as theater, dance, music, mime, juggling,
and gymnastics. However, the term is usually reserved for more unexpected, avantgarde, and
unorthodox activities intended to capture the audience’s attention. The performer himself or
herself is the artist, rather than an actor playing a character as in a stage play.
The performance venue may range from an art gallery or museum to a theater, café,
bar, or street corner. The performance itself rarely follows a traditional storyline or plot. It might
be a series of intimate gestures, a grand theatrical act, or the performer remaining totally still.
It may last for just a few minutes or extend for several hours. It may be based on a written
script or spontaneously improvised as the performance unfolds.
ACTIVITY 3 – INSTALLATION ART VS PERFORMANCE ART
In your activity notebook, copy the table below. Answer the questions by supplying the
column with the necessary information that talks about the distinct characteristics of
installation art and performance art.
INSTALLATION ART PERFORMANCE ART
Distinct characteristics
Why do you think a
certain work of art
called installation/
performance art?
What or who serves as
the medium in creating
installation art/
performance art?
11 | P a g e
What are some unique
ways that an artist can
do to capture viewer’s
attention in order to
experience the beauty
and wonders of a piece
of installation art/
performance art?
Practice Makes Perfect
To help you understand the revolutionary technique for applying introduced by the
modern art movement, do an experiment with this simplified process. Choose one on the
following activity:
A. PRACTICE TASK 1- ACTION PAINTING
Create an action painting by following the procedures below.
Procedure for Action Painting
1. Prepare your materials – 1 whole cartolina, box board, or other recycled board; acrylic
paints; 1-inch paintbrushes, sponges, or popsicle sticks; recycled mixing plates; small
rags for cleaning; newspaper for covering work surface.
2. Discuss the overall composition and technique that you will use using ½ index card.
3. Select desired colors of paint and apply these to the board by performing procedures
such as brushing, sprinkling, dripping, and flicking. Let the paint dry.
4. Decide for an appropriate title for your painting and display it in your house.
5. Be ready to share and explain the “action painting” techniques that you used in your
work and be able to discuss it with the other members of your class or group as they
also share their output. Observe the similarities and the differences and point it out to
the group or class as you brainstorm with your ideas.
B. PRACTICE TASK 2- COLOR FIELD PAINTING PICTOGRAPH APPROACH
Create a Color Field Painting by following the procedures below.
Procedure for Color Field Painting: Pictograph Approach
1. Prepare your materials – 1 whole cartolina or 1 whole box board; acrylic, poster, or
any available paints in primary colors, black, and white; #8paintbrushes; small rags for
cleaning.
12 | P a g e
2. Plan the overall composition and technique that you will use. Select colors of paint
similar to those used by color field artists, and plan how these will be arranged in your
artwork.
3. For pictograph approach - Use the #8 brush to paint small picture fragments or
symbols in a repeating pattern on the entire cartolina or illustration board. Let the paint
dry.
4. Decide for an appropriate title of your painting and display it in your room.
5. Be ready to explain the pictograph approach that you used and be able to share it to
others as you exchange your ideas and comments about your works.
C. PRACTICE TASK 3- POP ART
Create a Pop Art by following the procedures below.
Procedure for Pop Art
1. Prepare your materials – 1 whole cartolina or 1 whole box board; old colored
magazines, newspapers, or calendars; scissors; glue or paste; watercolors,
acrylic paints, poster colors, crayons, or pastels; #8 paintbrushes and/or
sponges.
2. Select a “popular” subject for your artwork (e.g., a product, a celebrity, a movie
or television character, a sport, a place, a brand name, etc.). Plan how this will
be depicted in your work using your available materials.
3. Cut out images, letters, etc. from the magazines, newspapers, or calendars,
and glue or paste them on the cartolina or illustration board. Color the
surrounding background with watercolors, poster colors, or any available
paints. You may also add details with crayons or pastels.
4. Decide for an appropriate title of your artwork and display it in your house.
5. Be ready to explain the pop art style and techniques that you used (e.g.,
inspired by Andy Warhol, Roy Lichtenstein, etc.)
D. PRACTICE TASK 4- INSTALLATION ART
Create an Installation Art by following the procedures below.
Procedure for Installation Art
1. The group members of your family will brainstorm on the concept of an installation
work to be constructed within your house.
2. As a group, gather creative and innovative materials for the planned installation and
bring these to your chosen work area.
13 | P a g e
3. Together, assemble the materials to construct your installation art.
4. Give the work a thought-provoking title and label it accordingly.
5. Hold a discussion meeting with your family members on issues about how they feel and
what they think of the finished work that you have just made. Do they consider it as a good
example of an installation art? What things do they see as yet to be improved?
E. PRACTICE TASK 5- PERFORMANCE ART
Do a Performance Art by following the procedures below.
Procedure for Performance Art
1. The group members of the family will brainstorm on the concept of a performance
art presentation.
2. As a group, agree on the place, equipment, costumes, and props (if
any) for your presentation.
3. Assign roles/tasks to each group member, as performers, production
crew, etc.
4. Make an audio-visual presentation of your performance using your phone to present it in
class for the next meeting.
4. Hold a class discussion on how the performance art presentations made the class members
feel and think; and make a stand if the said performance can already be considered good
examples of a performance art. Solicit suggestions and information if any on things that they
observed has to be improved and developed further for a better or excellent presentation.
VII. POST-TEST- VARIETY OF MODERN ART
Create your own Modern Art. Choose from among the different types of Modern Art
such as Pop Art, Op Art, Abstract Expressionism, Installation Art or, Performance Art. Briefly
describe your artwork in the form of a flashcard following the template below. The rubric for
grading and critiquing your work is presented below.
Title: _______________________________________________________________________
Artistic style and medium used:
______________________________________________________________________________
______________________________________________________________________________
How the elements of art are used:
______________________________________________________________________________
______________________________________________________________________________
How the principles of design are used:
______________________________________________________________________________
______________________________________________________________________________
14 | P a g e
Note: This rubric will be used in evaluating your practice task and on your post-test.
Please be guided in making your modern art movement activities. Have fun!
Critique of a Work of Art Rubric
Excellent Above Average Average Below Average
100 pts 90 pts 80 pts 70 pts
Description Makes a Makes a Makes a Descriptions
complete and detailed detailed are not detailed
detailed description of description of or incomplete.
description of most of the some of the
the subject subject matters subject matters
matter and/or and/or elements and/or elements
elements seen seen in the seen in the
in the work. work. work.
Interpretation Forms a Student Student can Student finds it
somewhat identifies the relate how the difficult to
reasonable literal meaning work makes interpret the
hypothesis of the work. him/her feel meaning of the
about the personally. work.
symbolic or
metaphorical
meaning and is
able to support
this with
evidence from
the work.
Evaluation Uses multiple Uses 1-2 Tries to use Evaluates work
criteria to judge criteria to judge aesthetic as good or bad
the artwork the artwork. criteria to judge based on
such as artwork, but personal taste.
composition, does not apply
expression, the criteria
creativity, accurately.
design, and
communication
of ideas.
Analysis of Student The student The student The student
artwork demonstrates demonstrates demonstrates demonstrates
understanding some satisfactory very little
of design awareness of awareness of awareness of
elements basic design the design basic design
through the use elements and elements and elements and
of correct art was able to briefly made no effort
terminology and describe, described, to describe,
was able to discuss, and discussed, and discuss, and
clearly interpret the interpreted the interpret the
describe, artwork. artwork. artwork.
discuss, and
interpret the
artwork.
15 | P a g e
For inquiries or comments, please contact:
16 | P a g e
