GE 116

ASIAN DEVELOPMENT FOUNDATION COLLEGE

TACLOBAN CITY
S.Y. 2021 – 2022

ART APPRECIATION
MODULE 5

The following are some reminders in using this module:

1. Please read and understand the lessons in this module.
2. Read the instruction carefully before answering the activity.
3. Observe honesty and integrity in doing the tasks.
4. Submit the ACTIVITY SHEET on or before the deadline in the
GOOGLE CLASSROOM.
5. If you encounter any difficulty in answering the activity in this module,
do not hesitate to consult your teacher. Always bear in mind that you
are not alone.
We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies.

YOU CAN DO IT!

 LESSON 5

ARTIST AND ARTISANS

Learning Outcomes:
By the end of the lesson, you should be able to:

a) outline the history of. The emergence of artists and artisans;

b) recognize and critically discuss the function of; state sponsorship in the
field of arts and culture through the National Artists Award and the
Gawad sa Manlilikha ng Bayan (GAMABA);
c) identify and define the different individuals and groups who take on varied roles
in the world of art and culture; and
d) classify the practices of artists In terms of form, medium, and technique.

In the advent of technology, it is remarkable what has now been made possible.
With a click of a button, an array of overwhelming information is made available,
informing every aspect of human life. In the fast-paced and highly complex twenty- first
century, there is a real and nagging fear that soon, everything may very well be
replaced by computers and robots that can arguably do things with more precision, at a
shorter amount of time and less capital in the long term. This nihilist notion is contested
by what are arguably the most resilient qualities of man, which is his creativity and
imagination. And as long as there is a cultivation of both of these qualities, no robot or
artificial intelligence can replace man just yet.

The arts is one of the most significant ways in which we try to grapple with how
the present unfolds. In Robert Henri’s The Art Spirit (1923), he stated that “Art when
really understood is the province of every human being. It is simply a question of doing
things, anything, well. It is not an outside, extra thing. When the artist is alive in any
person, whatever his kind of work may be, he becomes an inventive, searching, daring,
self-expressing creature. He becomes interesting to other people. He disturbs, upsets,
enlightens, and he opens ways for a better understanding. Where those who are not
artists are trying to close the book he opens it, shows there are more pages possible."
There is a gap when one continues to persist with the idea that art is something that is
detached from the every day. In what has been reduced to a blur, it became more
integral that man pursues a better understanding of the world where he lives. One of the
avenues that makes this both possible and exciting is the engagement with art and
culture.

This lesson will introduce the artists who have dedicated their lives to the
cultivation of the arts through the works of great creativity, imagination, and daring
throughout history. It aims to expand this into the wider world of the arts and culture,
wherein other key players and movers are testament to how the production,
consumption, and distribution of arts have changed profoundly.

In Peter Drucker’s seminal book Post-Capitalist Society (1993), he stated that

“the real controlling resource and the absolutely decisive factor of production is neither
capital not land nor labor. It is knowledge. Instead of capitalists and proletarians, the
classes of the post capitalist society are the knowledge workers and the service
workers.’ Arguably, one type of knowledge that fuels the twenty-first century is creativity.
This is evident in the recognition that professionals in the creative sector are integral
drivers and movers in society and an integral segment of this sector are artists. But who
are they?
 Artists have treaded a long history. Their roots can likewise be traced in one of
the major milestones in human civilization. In the first episode of the video series ‘New
Ways of Seeing," a project by The New York Times' T Brand Studio and jewelry giant
Tiffany & Co., art critic Jerry Saltz (2016) underscored the significance of not only the
discovery of the cave paintings, but also the paintings themselves. He asserted that
‘these first artists invented a way to get the three-dimensional world into two dimensions
and attach value to their own ideas. And all of the history of art flows forth from this
invention.1 He is apparently referring to the drawings and painted images of animals,
hunting scenes, and a variety of symbolic figures created during the Stone Age.
Examples of these are scattered all around the world, from France, Spain, Namibia,
Australia, and Argentina to name a few. Of course, these works were not yet subsumed
in the highly systematized art world, let alone considered as "art.”

Out of the shadows of these caves, astounding headway was seen moving down
history from Bronze Age down to the Middle Ages in terms of how man continued to
utilize his surroundings to create varying expressions of his ideas and feelings. Through
the exploration of his immediate environs, trade, and other experimentations, new
modes, media, and techniques brought to light a wide array of artworks that instantiate
the wealth that can be done when the artist’s vision is tapped, harnessed, and realized.
But the most integral development that allowed this identity of an "artist** to fully emerge
is the systematization and sophistication that his world—the art world— has become.

The impulse to create is at the core of human civilization, much like the impulse
to communicate through language. Early on, artists were embedded in the development
of culture, and in turn, art was nurtured by the varying cultures in which it existed. The
works produced varied from the prosaic to those that explored a wide range of aesthetic
possibilities. Seen every day, the interaction with these objects was intimate in the
sense that their presence was experienced in a multitude of ways and in all of the affairs
of man: ornamentations in tools and other surfaces, weaving patterns in textiles, visual
features and the design/plan for architectural structures, and ritual and burial
implements, among others. Artists even created places and spaces where communities
may gather. There are numerous monuments and memorials that are plotted over the
world such as the infamous Vietnam Veterans Memorial in Washington DC. There are
others like the cave paintings that have an aura of mystery like the Pyramids of Giza, or
have alluded comprehension like the Stonehenge.

Figure 36. The Stonehenge (Wiltshire, England) of the Neolithic Era or New Stone Age

It was in this light that artists worked and most of the time, the products were
considered not as artworks at all but rather as craft or placed under some other
category. The use of the word "embedded” may be taken to mean that what was
created automatically circulated in the operations of society and was not integral to an
art object that the identity of its maker be known. It did not take long before this
changed.

The Artisan and the Guilds

 Have you ever wondered why some examples of artistic and creative production
have survived to this day? Museums are packed with numerous artifacts and interesting
objects from all over the world that have survived centuries for us all to see. Magnificent
structures that are often appreciated not only for their historical significance but more so
for their aesthetic characteristics that render them unique, become tourist destinations
for those who wish to explore and see the remarkable facade, interior, and even the
minutest of details up close. Perhaps what made the difference was the materials,
medium, and the principles behind the process of their creation. Another contributory
factor is the emergence of technology and knowledge in managing and conserving all of
these objects and structures, enabling the retention of the integrity of the artwork and
the intention of the artist in terms of the design and overall aesthetic.

Consider the Gothic cathedrals and other megastructures that were built all over
Europe during the Middle Ages. Craftsmen and builders in the past did not have
sophisticated terminologies and principles that architects and engineers abide by today.
Yet, they fulfilled overlapping roles such as the draftsman, architect, engineer, and even
as the builder. What they had was a sense on how materials behaved, how the
environment, light, and weather patterns affected structures, and other more intuitive
principles of creation. Experimentation and luck must not also be forgotten. Gothic
cathedrals along with other structures inspired by its architectural tenets have survived
through time, not only by their sheer durability, but more so through the articulation of
the processes that they followed. An example of this would be the Cologne Cathedral.
In Germany, it is but one of the many examples of early Gothic architecture. The
account was that master mason Gerhard Ryle started the project in 1248 but was only
completed roughly 600 years later, claiming the record as one of the longest
construction projects to date.

Figure 37. The Cologne Cathedral between ca. 1890 and ca. 1900, Koln, Germany

Figure 38. Detail of the stained glass windows of Cologne Cathedral, Koln, Germany (2015)

What is meant here is a kind of formalization of craft education in which

regulation was set in place. Here, skills qualification was needed for an apprentice to
register under a particular craft guild. These guilds were prevalent during the middle
Ages particularly during the thirteenth to fifteenth century, where towns had formalized
groups of artisans or craftsmen who took on a particular specialization or trade:
shoemakers, textile and glass workers, carpenters, carvers, masons, armorers, and
weapon-makers, among others. Here, the practice of artists was not grounded on the
idea of individual capacities or success; rather, in the commitment to work together as a
collective. Guilds were a type of social fellowship, an association structured with rules,
customs, rights, and responsibilities. With a lifetime commitment to a particular trade, an
artisan develops immense skill and expertise in his craft.

A master artisan or craftsman would then be open to hiring apprentices who

would be under his tutelage and instruction. In these guilds, artistry and technology
flourished under one roof. In the context of the cathedral construction site, the master
mason oversaw the work by numerous men of varying artistic proclivities and skills from
the smiths (metal work), carpenters, carriers, and glaziers (stained glass artists), among
others.

Figure 39. The guild niche under the Four Crowned Saints, (circa 1416)
This was commissioned by the Arte del Maestri di Plelra e Leg name
(guild of wood and stone cutters), in Orsanmfchele. Florence.

This brought to light various ways of thinking about transferring knowledge and
skills by visualizing and articulating the principles, processes, and tricks of the trade
both in words and in print through manuals and publications. Of course, these printed
publications were done cheaply and did not have the same thoroughness as with
handbooks and manuals of biblical proportions. Aside from funds, another hurdle was
the fad that some of the knowledge that went into production was difficult to put into
words. This can be attested in a way that often, we find ourselves at a loss when tasked
with explaining a particular step or process in something that we created. Consider this,
In addition to the fact that receiving the explanation of how something is made does not
automatically make us impresarios who can carry out the task bump-free.

Figure 40. Albrecht Durer, “Self-Portrait” (1500).

Oil on time panel. Alte Pinakothek (Munich) Collection.
 In the visual arts, an example of an artist strongly influenced by this was Albrecht
Oarer. Born in 1471, his father was a goldsmith; that is why he also apprenticed as
such. Later on, he shifted to the visual arts. During that time, it was customary to travel
after completing an apprenticeship to gather more experience and knowledge
elsewhere. His life was ripe with travels, fame, and fortune. One of the biggest credits to
his practice was his dedication and Interest in scholarship with his attendance to a dose
friend's meetings of artists and scholars. He also published quite a number of books and
treatises including those that talked about practical skills as an artist which would be
useful to other artisans and craftsmen who dared to read it. Mostly on perspective and
human proportion, his works were written in the first-person singular format, practical in
the way it was written and was supported by illustrations. It also helped that his
illustrations were laid out opposite the text that explains it. Although he was caught
between the time when canons were still being followed, he suggested to his readers
that his was merely recommendations, and that if they found a better way to go about it,
then one should depart from what he had learned.

Although the timeline is a bit skewed, the culture of artisans became prevalent in
the Philippines as well, particularly during the Spanish colonial period. Formerly done
with the spirit of the communal and the everyday, patronship changed the way art was
perceived. This was both the case for religious and secular art, wherein the existence of
artisans proved to be of immense use. It was through mimesis or copying that artisans
first learned to depict religious images and scenes. Friars, being non-artists themselves,
provided the references that artists could use. During the propagation of the faith.
Spanish friars commissioned a lot of artisans to carve, paint, and engrave images for
churches and public sites. Each locality had a characterizing style or feature in the way
their depictions were made; the manner in which Boholano artists would paint saints
and scenes were different from those of Rizal or In Laguna. Like other Baroque
churches that benefited from the talents of artists, Spanish colonial churches were also
lined with frescos and ceiling paintings, with a number of them undergoing restoration in
the early 1900s. Project Kisame is a collective endeavor amongst enthusiasts and
advocates who aimed to promote this art form through documentation, engagement,
and appreciation of surviving ceiling paintings in more than 60 churches in the
Philippines. Technology and heritage conservation occupied a substantial part of this
project.

Figure 41.The church of the Most Holy Trinity in Loay, Bohol,

referred to as Santissima. Trinidad Parish.
 Figure 42. Details of the Ceiling of the Church of the Most Holy Trinity in Loay, Bohol. This
showcases the signature of some of the artist who worked for the restoration of the ceiling
paintings between 1922 to 1927. Photo courtesy of Joel Aldor/Project Kisame (2012)

One example of a Spanish architecture that has been documented is the Church
of the Most Holy Trinity in Loay, Bohol. Built in 1822, the ceiling paintings were rendered
trompe I'oeil style depicting biblical scenes. In 2003, it became a National Historical
Landmark. It was therefore unfortunate that this church was one of those heavily
damaged during the devastating earthquake that rattled Bohol in 2013. The only section
of the structure that remained erected was the bell tower. Although it is but a fragment
of the real thing, the photos taken by Project Kisame were able to document the beauty
of the ceiling paintings prior to its destruction.

From the church, the next patrons of the arts were the then new elite, the
ilustrados or the middle class, along with foreign guests who wanted souvenirs to take
along with them. In the previous chapter, it was mentioned that portrait paintings
became a fad. But looking closer at the paintings will reveal the specificity of the style in
which they were painted. Two other important genres for painting at that time were the
tipos del pais and letras y figuras. The former was watercolor paintings that showcased
the different local inhabitants of the country in different garbs, and clues to their
occupation and status; while the latter combined the principle of tipos del pais and
incorporated it as a means to illustrate the letters of one’s name or surname.

One key example that illustrated the systematization of art instruction—a

combination of sorts of the guild and the art school—was the establishment Damian
Domingo of the Academia de Dibujo. Known as the best tipos del pais painter, this
school specialized in teaching the miniaturismo style of painting along with the tenets of
classical European painting. Eventually, other schools emerged teaching other genres
such as bodegones (still life) and paisajes (landscape).

The Artist and His Studio

Moving back to Europe, the big shift that propelled the evolution of the pivotal
role of the artist in the arts started during the Middle Ages up to the Renaissance period.
Most pivotal developments included the transformation of the craftsman to an artist or
an independent artist; the widespread patronization of secular art (alongside the
continuous production of works with religious subjects); and the assertion of cognition,
the will, and individuality. Before the Renaissance Period, artworks were left unsigned.
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.
 Today, artist studios have been a place of interest for the public. It is interesting
to see and learn where creativity manifests itself, especially since an artist's studio is an
extension of the artist himself. The studio 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 segmented into
two, the studiolo and the bottega; the latter is where the work usually happened.
Apprentices studied under masters, assisting with menial tasks or the preparation of the
painting surfaces. In the seventeenth century, these demarcations became lose,
eventually merging together. This was especially true with artists who explored oil
painting techniques whose long process can be described by cycles of mixing, layering,
and drying of paint. This format remained throughout the latter part of the 1800s.

In France, on the other hand, academies and art salons became popular as they
did not only support the production of art but also the discourse around them. Criticism
and analysis were highlighted as integral aspects of art engagement and therefore the
display of the artworks through official art salons was sought for. To be included in the
exhibition was deemed an honor, especially since it did not take a while before it was
considered an arbiter of standards and taste.

The beginnings of Industrial Revolution had an interesting ramification for artists.

A compendium of events released the artists from the limitations that affected the way in
which they produced their works. These 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. More painters enjoyed painting on their own behalf,
creating works they wanted to create. It was during this time that a host of styles
developed side-by-side, allowing artists to fully grasp the potential of artistic license,
with minimal (to no) consideration for the prevailing tastes and stylistic preferences.
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. Perhaps, it was then that artists found freedom to
articulate their distinct aesthetic way of creative production.

Other Players in the World of Art

Figure 44. Prominent Roles in the Art World with their Mandatory Relationship
 The terrain in which the artist traverses is becoming increasingly complex. In the
last century, some of the roles that have been existent since the beginning of art history
have been properly dealt with—ascribed with a name—and legitimized into a
sophisticated network of relationships and exchanges. This network is what we call the
art world.

Figure 45. Exhibition opening of

“Arctic Hysteria: New Art from Finland”
(2009, Helesinki,Finland)

In Howard S. Becker's Art Worlds (1982), he asserted that “all artistic work, like
all human activity, involves the joint activity of a number, often a large number, of
people. Through their cooperation, the artwork we eventually see or hear comes to be
and continues to be. The work always shows signs of that cooperation. The forms of
cooperation may be ephemeral, but often become more or less routine; producing
patterns of collective activity we can call an art world. The existence of art worlds, as
well as the way their existence affects both the production and consumption of artworks,
suggests a sociological approach to the arts. It is not an approach that produces
aesthetic judgments; although that is a task many sociologists of art have set for
themselves." There is an assumption that an artist works in solitary; that the only time
the external world is allowed in would be when the work is displayed and when in
circulation. This would necessitate the seemingly central position that the artist enjoys in
the grand scheme of art experience. Although a popular opinion still, it has considerably
waned, with the emergence of another art player as a super power— the curator.

But the task at hand is not to christen a specific group of people in the art world
as its focus. What must be recognized is that, as Becker contended, there are
numerous people who either work in consent or dissension, and in doing so,
continuously (re)' define, (invalidate, maintain (or abolish), reproduce, and circulate the
“cultural category of art and to produce the consent of the entire society in the
legitimacy of the art world’s authority to do so" (Irvine, 2013). The terrain where art is
distributed is a global network comprised of individuals, groups, and institutions such as
schools, museums, galleries, art spaces, auction houses, and other commercial market
platforms, and professions. The last aspect is 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. An example
of a multilevel platform, where different players in what we call an art world can engage,
interact, and flex their art muscles, is the international art fair like the Art Basel in Hong
Kong.
 Figure 46. Art Basel in Hingkong (2015)

It is important to note that with the complexity of the art world, players are no
longer limited to those who undertook formal instruction in either (or both) production
and/or study of art. Take for instance 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 (board of trustees); directors and assistant directors; managing
curators; and other posts whose interest is the management and operations of
museums, galleries and other art spaces. For independent artists, those outside the
wing of a gallery as a “stable artist,' sometimes require the assistance of an artist
manager in order to manage their career and sometimes to help them in promoting
themselves to the art world as well.

A curator, on the other hand, is one of the most elusive of roles to pin down
Institutional curators are typically affiliated with museums and galleries, whlfe
independent or freelance curators have the leeway to move around various projects
platforms, and art spaces in a multiplicity of terms. Generally, the role of the curator is
more of the interpretation and development of the artworks) or the collection^) through
establishing the significance, relationship, and relevance of these materials— in
isolation and/or as part of a wider narrative. Some of the roles expected of curators 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.

If curators are the hardest to define, it is buyers and collectors who are probably
the easiest to qualify. Often they are construed as one and the same, but separately
taken, buyers are those who initially assess and survey the artworfc that collectors are
interested in. It is their role to oversee the sale of the artwork, on behalf of the collector
who may either be too busy or who would rather keep his identity hidden. Formerly
ascribed with the term "patron," buyers and collectors are those who acquire and
purchase artworks for a variety of reasons: for the appreciation and enjoyment of art; for
the scholarship and education opportunity it may provide (donors of study collections);
for safeguard and preservation of their posterity; for Investment; for communicating a
way of life/lifestyle; among others. These days, collectors are becoming more involved
well beyond extending their wallets. They have found another voice as an arbiter of
taste. A collector who has established himself as someone who not only appreciates art
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 donation).

In addition, art dealers are those whose direct hand is in the distribution and
circulation of the artwork s through a variety of means, such as direct sales, through
galleries, and the more recent player in the Philippines, auction houses. The knowledge
and insight that art dealers are expected to have include a 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 (or artist) he promotes.

There are some overlaps in the way buyers, collectors, and dealers operate and
behave. This is understandable, perhaps especially in the Philippines where delineation
of roles is a bit ambiguous. There are many other roles that are in existent in the art
world today, and there seems to be no stopping of the cropping up of new ones. Other
roles and their connectedness to others are roughly illustrated in Figure 44.

As the art world is seen as a socio-economic network, it is important to note the

major difference between museums and galleries. These are the main institutions th*’
display, distribute, and circulate different artworks; however, they behave in different
ways. The most substantial demarcation that separates one from the other is the ethics
that admonishes museums from entering into the more market aspect of the art world.
What this means is that museums should involve themselves in the sale of artworks.
The predominant role that museums are mandated to fulfill is the display of artworks for
the education of the public and the appreciation of these objects only, both in isolation
or as part of a collection and a wider narrative rendered possible by its inclusion in
exhibitions or informed by museum programming (i.e., lectures, workshops, screenings,
etc.).

Production Process

The process of creating an artwork does not necessarily follow a linear

progression. One of the things that one must accept is the fact that the arts have an
anarchic dimension to it, allowing it to fully harness its creative potential. The very
reason why different art styles, periods, and movements were made possible, is
because there was a form of flexibility given to artists in terms of how to conceptualize
and execute their ideas into reality. But this does not mean there is no guiding principle
that governs the general process of art production.

The process is essentially tripartite: (1) preproduction, (2) production, and (3)
postproduction. The artist always begins with an idea that he wants to express or
communicate with his audience. It may not necessarily be fully formulated, and so some
form of exposure, research, and other approaches may be explored to get the idea long
before actually making the artwork. This process is of course the preproduction stage.
The idea may take a while to form, or may come as swift as a bolt of lightning.

Some artists, however, birth their ideas when material manipulation is already
underway. This is when preproduction sometimes seep into the production stage. The
execution of the art may take a variety of forms such as painting, sculpture, tapestry,
photograph, film, a routine (dance), or a track or composition (music). Even tricky art
forms such as conceptual art, which purports to be solely concerned with the ideas, take
a variety of formats, and may even be harder to pull off. Some artworks rely on a
precise and skilled execution, while others need only intuition and a kind of
judiciousness in the manipulation of material.

Gathering and sourcing the materials needed for the creation of the artwork is
either subsumed under preproduction or the production stage. Either way, materials
form one of the most crucial aspects that inform the direction, quality, and the final
output itself
The last stage is the most drawn-out, the postproduction. Once an artwork is
finished, it will then be decided on how it will be circulated not only in the art world, but
the many publics. If the artist decides that he alone should see the work, then so be it
But most of the time, if not always, the creation of the object requires that it be seen,
heard, touched, and/or experienced in a variety of ways. 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. Take note, however, that approval
enjoyment, or pleasure are not the sole reactions that an artist intends for his work
sometimes, it is repulsion, contempt, or even grief, which the artist hopes for. Either
way, it is intellectual and emotional reaction that is often the impetus for creating an
artwork. A message is almost always embedded in the artwork and it is the hope of the
artist that his audience comes across it, or takes from it something that is his and his
alone.

There are many aspects that go into postproduction. These may include allowing
the artwork to set, tweaking the artwork, preparing the artwork for transport and display,
and even the promotion and inclusion of the artwork in publications or discussions.

Medium and Technique

Like what was previously mentioned, medium is one of the aspects of art that
directly correlates with its composition and presumed finality of the artwork. Medium is
the mode of expression in which the concept, idea, or message is conveyed. It may be
concrete or tangible, such as paintings, sculptures, monuments, and structures; or it
may be ephemeral or something transient, such as a track (recording of sound), a film,
or a performance. The appreciation or engagement with the artwork is also affected by
the medium spatiotemporally. For concrete works, the objects physically manifest
themselves for a prolonged or lasting period. For ephemeral works, on the other hand, it
is durational.

A chosen medium must not be expected to yield the same results. Giving two
different artists the same exact material and the general qualifier of "painting,’ the end
product will still vary minimally or in an exponential scale. This is where technique
comes in. as it is the reason why art history is described by a seemingly limitless
example of works of art. The technique of the artwork shows the level of familiarity with
the medium being manipulated. It alludes to the necessity of additional tools or
implements (e.g.. hammer and chisel may come in handy for sculptors), or
consideration of time (e.g.. behavior of different kinds of paint especially in drying time
requirements), and specificity of the site of creation (e.g., indoor or outdoor production
requirements).

Engagement with Art

The defining roles and nature of exhibitions have had an interesting evolution,
changing alongside the demands of the society that purports to partake in its display- In
Anna Cline's The Evolving Role of the Exhibition and Its Impact on Art and Culture
(2012), she wrote that 'exhibitions act 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. The art exhibition, by its nature, holds a mirror
up to society, reflecting its interests and concerns while at the same time challenging its
ideologies and preconceptions. Keeping art relevant to society and to a diverse
audience at any given point in history is one of the main goals of the art exhibition and
one of the reasons it is so important to the history of art." 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 the nexus where artists, their work, the arts
institution, and many different publics intersect” This opportunity is singular, as most
interactions in the art world are limited to two players at a time. Exhibitions create an
opportunity in which the different roles in the art world get to meet, interact, and even
enter into a discussion.

Nowadays, there are other exhibition spaces that have opened up for artists to
showcase their works. Often, one goes to a museum or a gallery, the white cube often
renders everything peaceful and calm. However, the exhibition process is an intricate
sequence of events made possible by multiple individuals and groups within and outside
the artist and staff.

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. There are some instances when an artwork
is a stand-alone or a site-specific work that renders its display under a slightly different
structure or format.

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
and opens it up for appreciation, critique, and analysis.

Awards and Citations

As with any organized endeavor, the arts and culture have entered into a phase in
which another aspect of its practice can be realized. After an artist has spent
considerable time in honing his skills, establishing the relevance of the body of his
works, and even gaining respect from his colleagues in the art world, he may be
considered or nominated for awards and citations.

in history, support for the arts and culture is not limited to the allocation of funding or
patronship. 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
Manlillkha ng Bayan (National Living Treasures Award).

The conferment of the Order of National Artists 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. The order is jointly administered by
the National Commission for Culture and the Arts (NCCA) and the Cultural Center of the
Philippines (CCP) and conferred by the President of the Philippines upon
recommendation by both institutions" (NCCA 2015). The very first recipient of this award
was painter Fernando Amorsolo, who was touted as the "Grand Old Man of Philippine
Art." He was the sole awardee in the year 1972, a National Artist for Visual Arts.

Figure 47. Emblem of Ihe Order of National Artists of the Philippines

 At present, there are 66 awardees of this prestigious honor across different art
forms. Some of them were given the award posthumously, while others were fortunate
enough to receive the award themselves. Some of the honors and privileges that a
national artist awardee receives are the following: (1) the rank and title, as proclaimed
by the President of the Philippines; (2) a medallion or insignia and a citation that will be
read during the conferment; (3) cash awards and a host of benefits (monthly life
pension, medical, and hospitalization benefits, life insurance coverage); (4) a state
funeral and burial at the Libingan ng Mga Bayani (Heroes' Cemetery); and (5) a place of
honor or designated area during national state functions, along with recognition of
acknowledgment at cultural events. The most recent conferment was in 2016. 

Figure 48. Figure 48. Conferment of the 2009 and 2014 Order or National Artists Award (2009 and 2014) led by President Benlgno Aquino
ill with the recipients (Alice Reyes, Cirilio Bautista, Ramon Santoe; Representatives of deceased/absent recipients also present Aquino
mentioned 9 National Artists on his speech.) Photo courtesy of the Official Gazette of the Republic of the Philippines.

The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was
created in 1992 under the Republic Act No. 7355. Also under the jurisdiction of the
National Commission for Culture and the Arts (NCCA), the NCCA (2015) “through the
Gawad sa Manlilikha ng Bayan Committee and an Ad Hoc Panel of Experts, conducts
the search for the finest traditional artists of the land, adopts a program that will ensure
the transfer of their skills to others and undertakes measures to promote a genuine
appreciation of and instill pride among our people about the genius of the Manlilikha ng
Bayan.” 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.

Figure 49. The first batch of recipients of GAMABA: Ginaw Bjlog, Masino Intaray.
and Samaon Sutatman. Photos courtesy of NCCA.
 Figure 50. This modal given to the recipients of the distinction
Gawad sa Maniflikha ng Bayan (GAMABA) Photo courtesy of NCCA.

The recipients of the GAMABA are sought under the qualification of a “Manlilikha
ng Bayan" who is a "citizen engaged in any traditional art uniquely Filipino whose
distinctive skills have reached such a high level of technical and artistic excellence and
have been passed on to and widely practiced by the present generation in his/ her
community with the same degree of technical and artistic competence" (NCCA, 2015).
This artists' 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 the following: (1) a specially
designed gold medallion; (2) an initial grant of P100,000 and a PI 0,000 monthly stipend
for life (this was later increased to P14,000); (3) benefits such as a maximum
cumulative amount of P750.000 medical and hospitalization benefits; and (4) funeral
assistance or tribute fit for a National Living Treasure.

Let's Wrap It Up

The evolution of the artist throughout history is one of the most interesting
progressions in the affairs of man. From the banalities of the works he created to assist
and inform the every day, he was caught in the midst of prevailing and shifting
ideologies, and utilized the power of the creativity and imagination in attempt to grapple
with the world around him. There is much responsibility and expectation ascribed to
artists. As Woodrow Wilson (1913) relates, “You are not here merely to make a living.
You are here In order to enable the world to live more amply, with greater vision, with a
finer spirit of hope and achievement. You are here to enrich the world, and you
impoverish yourself if you forget that errand.”
ACTIVITY no. 5

NAME: CODE (number):

COURSE & YEAR: SCHEDULE:

I. Answer the following questions as precisely yet as thoroughly as possible.

Test I.

1. What art form can you most relate to and appreciate? It may be architecture,
sculpture, painting, music, literature, film, dance, performance/theater, and living
traditions.

2. Name an artist whose works you really like.

a. Is there a particular work of art created by him or her that you relate to and
appreciate? What is it and why?
b. Based on what you wrote, make an assumption about what the painting
means.

Test II.

1. Identify and select one artist. He or she may be Filipino or foreign; and may be
identified with any art form: architecture, sculpture, painting, music, literature,
film, dance, performance/theater, and living traditions, among others.

a. Research on him or her and select five aspects of his or her life
(events, ideas, works, awards/citations) that you think have a
substantial contribution not only to the local or foreign art scene, but
also to human history.