10

MAPEH (ARTS)
Quarter 2 – Module 2:
Arts During the 21st Century
MAPEH 10 - ARTS
Self-Instruction Material (SIM)
Quarter 2 – Module 2: Arts During the 21st Century
First Edition, 2020

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 10
MAPEH (ARTS)
Quarter 2 – Module 2:
st
Arts During the 21 Century
 1 TITLE CARD

Topic:
Arts During the 21st Century
Competency:
Identify distinct characteristic of arts during the 21 st century in terms of:
1. Production
2. functionality
3. range of audience
(A10EL-IIa-2)
Objectives:
At the end of the module, the pupils are expected to:
1) Identify ways how art has developed in the digital age.
2) Recognize instances in which art could be purposively created.
3) Demonstrate personal art awareness being 21 st a century learner.

Number of Days: 2

Background and General Instructions

This Self-instructional Material entitled Arts During the 21st Century.
This lesson will identify distinct characteristic of arts during the 21 st
century in terms of Production, functionality and range of audience.

The series of learning exercises are provided as aids for the

mastery of the lesson. Kindly answer the activity cards, assessment card,
and enrichment card properly by reading first the directions given in each
activity.
Write your answer in a separate sheet of paper.
 2 GUIDE CARD

Guide Card 1
Production
1.1. Digital Photographic Manipulation
One possibility for art making in e-learning is digital photographic
manipulation. Software makes it possible to create art on a computer in digital form.
Many artists use computers for art making, in the same way they might use a
paintbrush. Such artists may print their work for installation in a gallery like at the Los
Angeles Center for Digital Art (www.lacda.com). Artist Jeff Wall exemplifies digital
photographic manipulation as he uses Adobe Photoshop to make illusory and often
times historically based photographic images seem real (Stevens, 2007).
1.2. net. Art
The term net. Art was coined somewhere in the middle of the 90’s (the dot
between is compulsory). It is associated to Vuk Cosic, net. Artist from Belgrade, who
used internet to reinterpret some famous works- with the software he created. Cosic
converted pixels into an ASCII code (American Standard Code for Information
Interchange). He translated the work of Andy Warhol Campbell’s Soup Cans. Then
in December 1995 ,he received a completely incomprehensible mail, with only one
part that could have been read: J8~g#/;Net.Art{-^s1. Thus, the name net.art was
adopted. Net artists apart from Cosic, other names known in the field include: Yael
Kanarek, Jodi Duo, Alexi Shulgin, Olia Lialina, Young-Hae Chang and, Heath
Bunting.(https://www.widewalls.ch/net-art-movement/)

Figure 1. Jeremy Rotsztain – Obsessions (Fluckr Pets), 2008

Guide Card 2
DIGITAL ART FUNCTIONALITY
 In an indefinite days perhaps when art probably had its beginning, its inherent
functions must be consciously or unconsciously noticed. From pre-historic age to the
digital age, the functionality might have lingered perennially or changes have taken
its toll. Items presented below are the primary functions of arts.

Contextual-- Artwork requires location and time. The manner in which an artwork is
contextualized in time depends whether it is understood primariy as a product if
cretaive process, as a historical artifact or as a reception proposition to be
experienced “here and now”.

Physical-- It is important to note the type of surface, support materials, installed-

artwork location, lighting, dimensions, etc. Furthermore, in favour of “artificial reality”,
Myron Krueger (Kwastek, 2013) stated “The empty rectangle has the advantage of
being familiar that physical space is eliminated and response is the only focus”.

Social--Art has a social function when it addresses aspects of (collective) life as

opposed to one person's point of view or experience. Viewers can often relate in
some way to social art and are sometimes even influenced by it. In the mid1990s
Nicolas Bourriaud developed a concept of the concept of relational aesthetics.
Bourriaud is concerned with the analysis of artistic strategies that invite the recipient
to engage in social interactions and to reflect on their meanings and contexts.

Personal—it is often difficult to explain the personal functions of art. Many types of
personal functions are highly subjective. Personal functions are not likely similar from
person to person. Common terms may include: self-expression or gratification,
communication of thought or point to the viewer. Sometimes an artist is only trying to
provide an aesthetic experience, both for self and viewers. A piece might be meant
to entertain, provoke thought, or even have no particular effect at all.

Guide Card 3
Audience in contemporary art
While platforms such as Facebook and Instagram may classify and measure
engagement as a simple double tap to ‘like’ a post, what does engagement with a
cultural institution look like in a digital age? Is visiting the website the same as
visiting the building? Digital events instead of actual ones are more cost-effective
and have the potential for global reach, but if people do not come through the door,
you miss out on other perhaps critical commercial opportunities. In general sense the
following presents categories of art audience.
1. the socialite audience- Usually, this type of event tends to focus around the
social relationships that can be formed or strengthened. This audience
numbers among its members the so called art professionals, ranging from
people with some degree of fame, thanks to their activity, to those with no
fame at all.
2. the citizen audience accounts for the audience of the art in public spaces.
There are several compelling issues as to who can be considered as “citizen
audience”. As defined by Modreanu (2017) it was considered that this
audience is made out of citizens whose money are used for building this type
of works of art2.
 3. the cultural-mall audience- refers to the contemporary art biennials and
contemporary art museums. Sarah Thornton (2009) defined biennial not just a
show that takes place every two years; it is a goliath exhibition that is meant
to capture the global artistic moment
4. the politicised audience is constituted by individuals with very strong
political beliefs considering the distinct kind of art (and, consequently the
public) that assumes very plainly a political role or makes a political
statement. Interest fall only in the obvious political statement made by and
with art.
5. the unwitting audience- Not very far away stands the activist art. Activist art
tries to make a change. It tries to influence people to take certain positions in
certain situations, depending on the hot topics in the society. The art creates
a distinctive audience, that we named the unwitting audience. This audience
has, of course, no intention of becoming the target of art-activists. Rather the
activist chooses its audience from groups of people among which they want to
make a change in a socially responsible way.
6. the potent audience refers mainly to collectors. They can have control over
the art world, because they roll a lot of money in the contemporary art system.
The bigger the sum of money a collector pays for a work of art of one artist,
the more renowned the artist is
Technology and artwork audiences
Other artworks rely on technology to interact with audiences to realise the
intentions of the work (Harding, et. al., 2019). Without an audience, there is no
engagement. Moreover, technology has become the means of production, exhibition
and distribution.
The large number of cell phones in use worldwide makes them significant
social
and communication tools. Moreover, the use of mobile phones as artistic interfaces
both reaffirms their popularity, as well as suggests new uses and unexpected uses
for the technology.
Main characteristics of tele-communications art
Primary concern of telecommunications-based art is the connecting distant and
contiguous spaces. Frank Popper [Popper 127], identified six main characteristics
communication art:
 it stages physical presence at distance, >it telescopes the immediate and the
delayed,
 it focuses on the playfulness of interactivity, >it combines memory and real time,
 it promotes planetary communication, and >it encourages a detailed study of
human social
groupings.
The Mobile audience
The audience / participants in mobile practices are connected in a network. They are
both individuated and simultaneously linked to one another. The primary content of
any network is its members and the number and intensity of their connections.
 3 ACTIVITY CARD
ACTIVITY 1
Directions: In three to five sentences explain how photographic manipulation and
art.net contributed to the production of arts in the 21 st century. Scoring mechanics
are presented below.
Ideas are organized and claims are well supported Excellent (5)
The claim is clear but not substantially supported Very Satisfactory
(4)
Thoughts are comprehensible but not organized Satisfactory (3)
A single point is presented but without reason Poor (2)
Presented answer does not show relevance to the topic Very poor (1)

ACTIVITY 2
Directions: Identify what art function is exemplified by the items in Column A.
Refer to column B for your answers.
A B
_____1. An artist might want to relate A. social
life aspects to others more than his or
her personal point of view or experience
_____2. Julia wants to express herself B. contextual
through a painting
_____3. Art may involve space C. physical
dimensions
_____4. It is the circumstantial D. Personal
relevance of art
_____5. A king built a palace in honour
of his beloved queen.

ACTIVITY 3
Directions:
1. Choose one category/ categories of audience you would like to be categorized.
Justify answers in three to five sentences. A rubric is presented below.
Ideas are organized and claims are well supported Excellent (5)
The claim is clear but not substantially supported Very
Satisfactory
(4)
Thoughts are comprehensible but not organized Satisfactory
(3)
A single point is presented but without reason Poor (2)
Presented answer does not show relevance to the topic Very poor (1)
 4 ASSESSMENT CARD

Directions: Choose the letter of the correct answer.

1. Leonardo is an artist. His work is part of the exhibition. In what category of audience
can he be classified?
a. unwitting b. socialite c. politicised d. potent
2. Digital photographic manipulation is one of the means in art production in 21st
century. Which of the following may be most helpful in digital photographic
manipulation?
a. You tube b. messenger c. adobe photoshop d. Microsoft excel
3. True or False. Digital technology is among the most vital factors in the production of
art in 21st century.
a. True, because art is very technical
b. True, because computer software and applications are useful tools in the crafting
of an artwork
c. True, because art in 21st century reaches a variety of audience around the globe
d. False, it is not helpful at all
4. An artwork can be viewed as a product of a cretaive process, as a historical artifact
or as a reception proposition to be experienced “here and now”, is an exemplification
of what art functionality?
a. Contextual b. personal c. social d. physical
5. According to Popper 1993, Which of the following is not a characteristic of
communication art?
a. it stages physical presence at distance
b. it telescopes the immediate and the delayed
c. it focuses on the playfulness of interactivity
d. all of the above
a. All of the above
 5 ENRICHMENT CARD

Directions: List on line media with which an artwork can be presented. Provide brief
descriptions for each.
 6 REFERENCE CARD

REFERENCES
GSM Arena Team. 2011. The things you do. Accessed may 3, 2020.
www.gsmarena.com/mobile_phone_usage_survey-review-592p3.php.

Kwastek, K. 2013. Aesthetics of Interaction in Digital Art. Accessed May 3, 2020.

ebookcentral.proquest.com/lib/uniofmindanaoebooks/detail.action?docID=3339682.

Lumbre, Angelina P., Alvin C. Ursua , Donnel P. Placer, Jaime R. Burgos, and Reynaldo A. Sy, Jr. 2016.
21st Century Mathematics. 1253 G. Araneta Avenue, Quezon City, Philippines: Vibal Group,
Inc.
 7 ANSWER KEY

Activities 1 and 3 are dependent Activity no. 2 ASSESSMENT

upon the scoring of the instructor
a. A a. B
considering the given rubric.
b. D b. C
c. C c. B
d. B d. A
e. D e. D
 DISCLAIMER
This Self-Instructional Material (SIM) was developed by the Schools Division of
Cotabato. It aims to provide learners with materials that could be used in the new
normal and is based on the modality preferred by most parents and learners. It is
hoped that through this, the education of the children in the Province of Cotabato
shall continue. This shall likewise be used by the learners of all public schools in the
schools’ division beginning SY 2020-2021. Furthermore, the process of LR
development was observed in the production of this module. This is version 1.0. We
highly encourage feedback, comments, and recommendations.

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