LESSON 5.

2
Artists claiming authorship for their works by affixing their mark onto
the surfaces of their paintings were a big milestone in the history of the
artist. Combined,these resulted in a wider variety of artworks,not just in
form,but more so in style and technique.
The site that saw this shift was a very personal space for the artist
himself, which is the studio.
artists studios
The extension of the artist himself.Its model dates back from the
Renaissance.
Therein, artists flexed their relationship with their patron as a site where
negotiations and works were made. There were those whose work stations
were divided into two, the studiolo and the bottega. The latter is where
the work usually happened.
On the other hand, in France, academies and art salons became popular as
they did not only support the production of art but also the discourse
around them.
continuation...
During the beginning of Industrial Revolution, a compendium of events
release the artists from the limitations that affected the way in which
they produced their works which included the availability and portability
of materials. (i.e., foldable easels and paint in tubes.) and the reliance on the
wealthy patrons to place a commission.
During the latter part of the 1800s, artists began to question the merits of
stringent artistic training and education, but it was during the 1900s that
art was truly liberated from the traditions of the past. It was then that the
artists found freedom to articulate their distinct aesthetic way of
creative production.
OTHER PLAYERS IN
THE WORLD OF
In the last century, some of the roles that
have been existent since the beginning of art
history have been properly dealt with and
legitimized into a sophisticated network of
relationships and exchanges. This network
refers to the art world.
 HOWARD BECKER
in his work titled art worlds (1982), he asserted
“all artistic work , like all human activity,
involves the joint activity of a number, often a
large number,of people……..” This means that
there are numerous people who either work in
consent or dissension, and in doing so,
continuously (re)define, (in)validate, maintain (or
abolish), reproduce or circulate the“cultural
category of art”.
he also stated that “ The work always show
signs of cooperation. The forms of cooperation
may be ephemeral (lasts in a short period of
time), but often become more or less routine;
producing patterns of collective activity we
can call an art world.”
commercial market platforms are very important
because this implies that the art world does not only
rely on ideas, sentiments, and aesthetic values, but also
on skills that are professionalized, stratified, and more
importantly, monetized. Example of multilevel
platform where different players in art world is the
international art fair like the Art Basel in Hong Kong.
administrative and managerial roles
In complexity of art world, players are no longer limited to those who
undertook formal instruction in either or both production and/or study
of art. Administrative or managerial roles both of which can exist in
either institutional or non institutional scenarios
These roles may be broken down to working boards; directors and
assistant directors; managing curators; and other posts whose interest
is the management and operations of museums,galleries and other art
spaces.
 is one of the most elusive of roles to pin down. Institutional curators are
typically affiliated with museums and galleries while independent or
freelance curators have the leeway to move around various projects,
platforms, art spaces in the multiplicity of terms.

The role of a curator is more of the interpretation and development of

the artwork or the collection through establishing the significance,
relationship and relevance of these materials. Some are the ability to
research and write, as an arbiter of design and layout,and deciding for the
display and hanging of materials for exhibition.
buyers and collectors
buyers are those who initially assess and survey the artwork that
collectors are interested in. It is their role to oversee the sale of the
artwork, on behalf of the collector

Collectors may either be too busy or would rather keep his identity
hidden. These days, collectors are becoming more well beyond extending
their wallets. A collector who establishes himself as someone who not
only appreciates arts but knows art , understands its behavior and
patterns, becoming a key player in making or breaking an artist’s career
or shaping the course of a museum ‘s collection (through pledges of
support and donations).
art dealers
Those whose direct hand is in the distribution and circulation of the
artworks through a variety of means, such as direct sales, through
galleries, and the more recent player in the Philippines, auction houses

They are expected to have knowledge and insight including specialization

in art form, style, medium or period; market trends; and even the
interrelationships of other key players in the art world who will benefit
from the circulation and distribution of the artwork he promotes.
museums vs. galleries
they are the main institutions that display, distribute, and circulate
different artworks; however they behave in different ways. Museums are
mandated to display artworks for the education of the public and the
appreciation of these objects only. Galleries on the other hand display
artworks for the purpose of selling art.
production process
The process is essentially tripartite: 1. preproduction, 2. production, and 3.
postproduction.
Preproduction stage begins when the artist has an idea that he wants to
express or communicate with audience.
Production stage occurs when there is an execution of ideas of arts from
the preproduction stage. Execution of art may take a variety of forms
such as painting, sculpture, tapestry, photograph, film, a routine (dance),
or a track or composition (music)
continuation...
Postproduction stage is the most drawn-out.Once an artwork is finished,it
will then be decided on how it will be circulated not only in the art world
but the may publics. Often, it enters into a new sphere, inside the domain of
museums, galleries, performance halls, theaters and other art spaces
where interaction can take place
medium and technique
Medium is one of the aspects of art that directly correlates with its
composition and presumed finality of the artwork. It is the mode of
expression in which the concept, idea or message is conveyed.It maybe
concrete or tangible,such as paintings, sculptures, monuments and
structures; or it maybe ephemeral or something transient, such as a track
,a film or a performance
Technique of the artwork shows the level of familiarity with the medium
being manipulated. It alludes to the necessity of additional tools or
implements (hammer and chisel) or consideration of time and the
specificity of the site of creation.
ENGAGEMENT
WITH
In Anna Cline’s “The Evolving Role of the Exhibition and Its Impact
on Art and Culture” wrote that “exhibitions acts as the catalyst of
art and ideas to the public; they represent a way of displaying and
contextualizing art that makes it relevant and accessible to
contemporary audiences……..” Therefore, it is apparent that
exhibitions are not only of import to artists who rely on its being,
but more so to the varied audiences who get to see them
In Paula Marincola’s What Makes a Great Exhibition? (2006), it
reads that “exhibitions are strategically located at nexus where
artists, their work, the arts institution, and many different publics
intersect.”
Exhibition creates an opportunity in which the different roles in
the art world get to meet, interact, and even enter into a
discussion.

Exhibitions may be long-term or permanent hangs, or it may be

temporary or periodically changing. An artist may have a solo
exhibition or may be included in a two-person showing or even a
group exhibition
Aside from exhibitions, other opportunities for art engagement
transpire in the classroom (instruction); studio visits; lectures,
workshops and other events that augment the exhibitions
(programs); auction sales; art fairs, biennials and triennials;
and other larger showings of not only artworks but also where
art personalities can flex their influence and authority.

Publications are also a good way to introduce the artwork.

awards and citations
One of the most common measures in which artists and other creative
producers are given incentives and honor for their work is through
state-initiated and given awards and citations.

The two major awards given to artists in the Philippines are the Orden ng
Pambansang Alagad ng Sining (Order of National Artists) and Gawad sa
Manlilikha ng Bayan (National LivingTreasuresAwards)
order of national artists
It is the highest national recognition given to Filipino individuals who
have made significant contributions to the development of Philippine Arts;
namely, music, dance, theater, visual arts, literature, film, broadcast arts
and architecture and allied arts.

It is jointly administered by the National Commission for Culture and the

Arts (NCAA) and the Cultural Center of the Philippines (CCP) and conferred
by the President of the Philippines upon recommendation by both
institutions.
continuation...
Fernando Amorsolo was the first recipient of this award. He is a painter
who was touted as the “Grand Old Man of Philippine Art” and was the sole
awardee in the year 1972, a National Artist for Visual Arts.

Some of the honors and privileges that a national artists awardee receives
are the following: 1.) the rank and title 2.) a medallion or insignia and a
citation that will be read during the conferment; 3.) Cash awards and a
host benefits; 4.) a state funeral and burial at the Libingan ng mga
Bayani; and 5.) a place of honor and designated area during National
state functions along with recognition or acknowledgement at
cultural events
gawad sa manlilikha ng bayan (gamaba)
It was created in 1992 under the RA No. 7355. Also under the jurisdiction of
the National Commission for Culture and theArts (NCAA).

It was first conferred to three outstanding artists in music and poetry

back in 1993. They are Ginaw Bilog, a master of the Ambahan poetry;
Masino Intaray, a master of various traditional musical instruments of
the Palawan people; and Samaon Sulaiman, a master of the kutyapi and
other instruments
continuation...
The recipients’ practice may fall under the following categories; folk,
architecture, maritime transport, weaving, carving, performing arts,
literature, graphic and plastic arts, ornament, textile or fiber art, pottery
and other artistic expressions of traditional culture

Some of the incentives accorded to the awardee are 1.) a specially

designed gold medallion 2.) an initial grant of P100,000 and P10,000
monthly stipend for life (later increased in P14,000 3.) benefits such as
maximum cumulative amount of P750,000 medical and hospitalization
benefits; and 4.) funeral assistance or tribute fir for a National Living
Treasure