Don’t confuse the word “modern”

in Modern Art with the definition

of modern, meaning up-to-date
or Contemporary Art….that
comes in the 100 years after
Modern Art.
 LESSON 1: WHAT IS CONTEMPORARY
ART?

At the end of the lesson, you are expected to:

define the term “contemporary art” in art
historical, cultural and stylistic term;
Explain the difference between contemporary art
and modern art in the context of the Philippines’
various histories, cultures, and identities;
demonstrate the major characteristics of
contemporary art through an artwork that would
require teamwork and collaboration;
appreciate the role of contemporary art and
artists in Philippine contemporary life; and
understand contemporary issues and their
relationship to real life situations.
TERMS TO
REMEMBER:
Process-based
Contemporary Art
Site-specific
Modern Art
Collaborative
Neo-Realism
Interactive
Social Realism
Installation
Neoclassic
Mixed Media
Integrative Performance Art
DIFFERENTIATE

Contempora
ry Art
Modern Art
 DIFFERENTIATE
Modern Art
Referred to as traditional compared to
“contemporary arts”
 Being modern means being up to date and
technologically advanced.
The distinction of Modern Art and Contemporary
Art could also be a matter of perception and
reception dependent on the context
 DIFFERENTIATE
Modern Art
A period set chronologically after the
Neoclassical(Academic) period. This was pioneered
in the Philippines by VICTORIO EDADES in 1928,
influenced by western Modern Art.
Stylistically, it often rejected the use of realistic
elements in their artworks, having preference for
linearity, flatness of the pictorial plane, subjective
use of color, and rejecting the idealized beauty in
their subject matter.
 DIFFERENTIATE
Contemporary Art

It is the art of the present which is

continuously in process and influx
It is the art of today, produced by
artist of who are living in the twenty-
first century
 NEO-REALISM

A group of artist who

exemplified a new kind of
modernism emerged, and this
was observed by the artist-writer
E. Aguilar Cruz who named the
movement Neo-Realism
 SOCIAL REALISM
An art movement that started within
the Modern Art period during the 1970s
to the 1980s.
It aimed to expose the current
sociopolitical issues by depicting the
reality of the masses, tackling such
themes as the struggle of the
marginalized, inequality, and forms of
repression.
 NEOCLASSIC
An artistic style prevalent in Europe from mid-
1700s to the late 1800s; also called Academic
style from the art academies, which taught
students techniques after this manner. This style
usually employed classical(Greco-Roman) ideals
of beauty and proportion of human figures
,frequently tackling subjects from history,
mythology, and literature with refined realistic
technique that had a theatrical effect.
 INTEGRATIVE

Refers to the characteristic of

Contemporary Arts in which the artist is
free to integrate any medium or any art
form or style in order to express their
artistic intention, without being limited
to conform to any stylistic trend in order
to be called contemporary.
 PROCESS-BASED
A characteristic of Contemporary
Art that emphasizes on how the
artist starts not with a final
product in mind, but instead
begins with the development of a
concept and then subsequently
proceeds with realizing the idea.
 SITE-SPECIFIC
A characteristic of Contemporary Art
that allows for an artwork’s meaning to
have a direct relationship to a specific
location where it is seen or experienced.
Changing the location of the work would
mean a change in the interpretation of its
value or meaning.
 COLLABORATIVE

A characteristic of Contemporary Art

wherein the end product is created with in
the involvement of two or more artists.
Collaborative artworks often present
multiple perspectives on one main media,
factored with spontaneous results, and thus
possess more complex avenues for analysis.
 INTERACTIVE
A characteristic of Contemporary Art that
recognizes how the audience has the
potential to change or add to the meaning
of artwork. The work is then designed in a
way that the audience is asked or
encouraged to interact with the piece or
certain elements of it; the effects of the
process are included in the analysis of the
artist’s intent.
 INSTALLATION
The method in which the artist is not restricted
to a two-dimensional plane (like painting on a
canvas or panel) in the construction of the
artwork; this would involve real space in which
elements of his/her artwork or multiple works, in
various forms or mediums, would be arranged to
effectively convey the artist’s intent. The real
space in which the elements are arranged may
be considered as the main context with which to
analyze the work.
MIXED MEDIA

The technique that

uses different materials
in the creation of an
artwork.
 PERFORMANCE ART
An art from where the artist executes an
artwork in front of a live audience; the
process by which the artist creates by
means of movement, space, spontaneously,
and the uniqueness of the moment( the fact
that it cannot be perfectly replicated even if
executed with the same methods);
emphasizes the process more than the end
product, if there is any
 The
Used
•1.
technique
of that
different
uses

MIXED materials in
the creation of
MEDIA an artwork.
 2. Some
They can’t be
experienced in the same
way if removed from
works are their original places of
exhibit whether in the
also SITE- gallery, out on the
streets, in the forest, on
SPECIFIC the internet, etc.
 3. They are emphasizes on how
the artist starts not
generally with a final product
PROCESS- in mind, but instead
BASED and begins with the
development of a
integrate concept and then
various subsequently
proceeds with
mediums and realizing the idea.
art forms
 An art from where the artist
4. Integrates executes an artwork in front of
a live audience; the process by
which the artist creates by
means of movement, space,
spontaneously, and the
PERFORMANCE uniqueness of the

ART
moment( the fact that it
cannot be perfectly replicated
even if executed with the
same methods); emphasizes
the process more than the end
product, if there is any
 A characteristic of
5. The process is Contemporary Art wherein
COLLABORATIVE, the end product is created
and the experience is with in the involvement of
immersive and two or more artists.
INTERACTIVE,such Collaborative artworks
that the art is not often present multiple
complete without the perspectives on one main
audience’s active media, factored with
input spontaneous results, and
thus possess more
complex avenues for
analysis.
 SYNTHESIS
Contemporary Art is distinguishable from Modern Art
in HISTORICAL, STYLISTIC, and CULTURAL terms.
The most common characteristics of Contemporary
Art revolve around their being SITE-SPECIFIC,
PROCESS-BASED, COLLABORATIVE, and
INTERACTIVE
However, there are also artists who use a mixture of
contemporary, indigenous, Islamic, popular and
traditional art forms, media, and content.
 SYNTHESIS
This mixing and combining of many elements make
us understand our own culture– itself a mix of
different cultures, and histories.
We also realized that contemporary art is never
fixed, but open to possibilities.
The different places in the Philippines are home to
rich and varied art forms, most of them unknown
even to us who live next to them.
LESSON 2:

A BRIEF
HISTORY OF
PHILIPPINE
ART
 OBJECTIVES: At the end of this lesson, you are expected to:

a. identify the major periods, artists, and artworks of Philippine

art history;
b. build an initial vocabulary of major and basic art terms in
Philippine Art history;
c. define contemporary arts by situating these within Philippine
Art;
d. illustrate local examples of contemporary arts through an
interview and studio or museum visits;
e. Distinguish conservative, modern, and contemporary styles in
the visual arts and be able to interpret these by creating a self-
portrait; and
f. link the various art forms through an interview activity
LESSON 1: LESSON 2:
We learn that the Provides a more
CONTEMPORAR detailed discussion
Y can be situated of Philippine Art
in ART History and its
HISTORICAL, major periods,
STYLISTIC & artists, and their
CULTURAL terms works.
PAST

CONTEMPORARY/PRESENT
A BRIEF HISTORY OF PHILIPPINE ART

•PRE-CONQUEST

• ISLAMIC COLONIAL (13TH CENTURY TO THE PRESENT)

•SPANISH COLONIAL PERIOD (1521-1898)

• AMERICAN COLONIAL PERIOD (1898-1940) TO POSTWAR
REPUBLIC(1946-1969)

•JAPANESE OCCUPATION (1941-1945)

•70’S TO CONTEMPORARY PERIOD
 I. PRE-CONQUEST

Art before the coming of the first colonizers

In STYLISTIC terms, we refer to as “indigenous” to emphasize
the idea that our ancestors have been making art even before
colonization
It is described in CULTURAL terms as “pre-colonial” as term
use for general way of life before colonization
I. PRE-CONQUEST
Was there ART before
colonization?

•Art of the
ancient
Filipinos were
woven into
fabric of
everyday life…
 Was there ART before
colonization?

•They don’t refer to art

as we do today.
(that is an expression of
individual & seen largely
in museum and concert
halls)
Was there ART before
colonization?

•They didn’t
distinguish
forms into
different
categories like…
 Was there ART before
colonization?
• This everyday
expressions
were all a
integrated
within rituals
that marked
significant
moments in a
community’s life
Was there ART before
colonization?
1. POTTERY
2. WEAVING
• Aside from
communal 3. CARVING
functionality of 4. METALWORKS
indigenous art, 5. JEWELRY
they also excel in 6. TECHNOLOGY
different creative 7. RITUAL VALUES
forms such as,,,
OUR ANCESTORS’ LIFESTYLE

• Like all others

in the
world,our
ancestors are
HUNTER-
GATHERERS
 OUR ANCESTORS’ LIFESTYLE

•They imitated the RITUAL

movement of animals MUSIC
and prey, and sounds
what they made DANCE
•In this simple activity THEATER
alone evolved …. LITERATURE
OUR ANCESTORS’ LIFESTYLE

RITUAL
• As these hunters gather
together societies prepared
themselves for the hunt
and prayed to be endowed
with the strength of the
animal that they hunted,
they were in fact
performing a ritual.
OUR ANCESTORS’ LIFESTYLE
• By telling stories about
the hunt through ORAL
STORY TELLING…
our ancestors learn…
They learn to devise
an alphabet and LITERATUR
write those stories
down. Thus, the E
SYSTEM OF
WRITING was
conceptualized
OUR ANCESTORS’ LIFESTYLE
THEATER & •They imitated
PLAY ACTING the movements
of the animals
that they
hunted.
OUR ANCESTORS’ LIFESTYLE
MUSIC & •When they
DANCE learn to add
drum beating
and attach
rhythm to their
movements
Many of these rituals are still alive
in various regions:
1. MAYVANUVANUA IN
BATANES
2. CAŇAO IN CORDILLERA
3. KAWASHING RITUAL IN
LAKE LANAO MINDANAO
4. TAGBANWA IN PALAWAN
Long before the coming of the
Spaniards …
Pre- Colonial Peoples of the Philippines
already possessed a varied and vibrant
musical culture.
The countries musical culture through the
existence of ethnic musical instruments such
as PIPES, FLUTES,
ZITHERS,DRUMS,KUDYAPI,KULINTANG(an
array of bossed gongs ,the gansa and flat
gong), BAMBOO percussion instruments and
the AGONG- large bossed gong
Long before the coming of the
Spaniards …
This wealth of ethnic musical
instrument is further
complicated by NATIVE
DANCE FORMS.
Imitated the movements of
animals, humans, and
elements from nature.
Long before the coming of the
Spaniards …
PANGALAY from
SULU archipelago is
mimetic of the
movements of
seabirds.
 Long before the coming of the
Spaniards …
MANDAYAS’KINABUA
BANOG-BANOG OF HIGUANON
AND OF B’LAAN COMMUNITIES
MAN-MANOK OF THE BAGOBOS
OF MINDANAO
*all of these imitates the movements of migratory birds
Long before the coming of the
Spaniards …
The TALIP dance of the IFUGAOS
is used in courtship and is mimetic
of the movements of wild fowls,
The INAMONG of the
MATIGSALUGS, and the
KADALIWAS dance of T’BOLIS
represent the comedic movement
of monkeys.
Long before the coming of the
Spaniards …
The TINIKLING, a popular Tagalog
folk dance often showcased for
tourists, is evocative of the
movements of the crane, balancing
itself on stilt-like legs or flirting
away from the clutches of bamboo
traps.
Pre-Colonial Filipinos have been
making images before colonization
EXEMPLIFIED BY
THE COUNTRY’S 1. BULUL
RICH TRADITION -granary god that
IN plays important role
CARVIN in rituals
-the anthromorphic
G Bulul also appears in
containers, bowls
and spoons.
Pre-Colonial Filipinos have been
making images before colonization
2. HAGABI
- Seen in IFUGAO
- Wooden bench
that marks the
socio-economic
status of the
owner.
Pre-Colonial Filipinos have been
making images before colonization
Christianized - Carving SANTOS
or SCULPTURE of
communities SAINTS as well as
in other wooden
sculptures
LAGUNA secular or non of

& religious
PAMPANGA orientation.
Pre-Colonial Filipinos have been
making images before colonization
Paete in
LAGUNA
-recognized
for carving
tradition
Pre-Colonial Filipinos have been
making images before colonization
Betis of
PAMPANGA
-remain active today
despite the many
challenges posed to
contemporary
practices.
SOUTHERN
PHILIPPINESenjoyed wood
1.TAUSU carving
G  They made
Curvilinear
2.SAMAL decorations
called OKIR
3.BADJAO (termed UKKIL)
SOUTHERN
PHILIPPINESOKIR designs can also be found
Sarimano inbeams
the panolong or potruding
of the Sultan’s house
k called TOROGAN
The ubiquity of okir designs is

Naga or
evident in its diverse
applications, from
ornamentation in musical

Serpent instruments and sheaths;

to grave marker called
SUNDUK, as well as marking
Pakong for ceremonial boats.

Rabong in
 SOUTHERN
PHILIPPINES
Some of the most ancient form are made of
TERRACOTA(unglazed, typically brownish red
earthen ware)
MANUNGGUL JAR – found in Manunggul Cave,
Lipuun Point, Palawan during Neolithic
period(870-710)
Another anthropomorphic burial jars was
produced during the Metal Age(5BC-225AD)
found in Ayub Cave in Maitum Saranggani
Province
Another forms are:
1. PALAYOK FOR COOKING
2. BANGA AND TAPAYAN- container
for fermenting food or keeping
liquid.
3. The PAGBUBURNAY in VIGAN
thrives and is currently valued in
Ilocos as part of its creative
industry.
 Another cherished living
tradition is WEAVING
ACCORDING TO RESPACIO:

Textile weaving
has a long history
that Philippine
Ethnolinguistic
groups has rich
textile tradition
Textile are not only
functional , they
also impart
knowledge about
people’s belief
system: the
reverence for spirit
and nature, criteria
for beautiful and
their societies socio
political structure.
WEAVING INDUSTRY
Pis siyabit – a headpiece woven by
TAUSUG OF SULU
 MALONG

A LANGKIT WOVEN BY
THE MARANAO OF
LANAO DEL SUR
MAT & BASKET WEAVING
A COLORFUL
DOUBLE
LAYERED
TEPO MAT OF
THE SAMA OF
TAWI- TAWI
IKBAYAT OF BATANES

OVALOID
BASKET made
of NITO &
BAMBOO are
used as head
sling to carry
harvests
.
Weaving for AGRICULTURE
ILOCOS
ILOCOS
REGION
REGION

AASTURDY
STURDY
BAMBOO
BAMBOO
STRIPS
STRIPSARE
ARE
WOVEN
WOVENTO TO
CREATE
CREATEFISH
FISH
TRAPS
TRAPS
CALLED
CALLED

BUBO
BUBO
The tendency toward ORNAMENTATION could
be seen in the early Filipinos adorned their
bodies..
16th century BOXER CODEX Featured the manifestation of various
ILLUSTRATES MANUSCRIPTS linguistic groups
TATTOOS
Visayas as ISLAS DE LOS
Tattoos were valued because it was
PINTADOS believe to protect the individual
from evil spirits
TATTOO also manifest a badge
of MATURITY & BRAVERY
•KALINGA
•KANKANAEY
•IBALOY
•KIANGAN
/IFUGAO
JEWELRY- believe to make wearer
more attractive to opposite sex and it
is considered pleasing to their gods.