Panginoon, Maraming Salamat po sa dakilang

araw na ito. Kami po ay nagpupuri at niluluwalhati ang

iyong mga kaloob na biyaya sa amin. Gabayan po ninyo
kami sa aming pagaaral at sa pagtuklas ng bagong
kaalaman na magtataguyod sa amin upang maging
mahusay mong tagapaglingkod. Ipadala po ninyo ang
inyong Banal na Espiritu upang magningas sa puso ng
bawat isa sa amin ang maalab na pagnanais na maging
isang mahusay na mamamayan na may malasakit sa
pamilya, kapwa, kalikasan at sa mahal na bansang
Pilipinas.

Ang lahat ng ito ay hinihiling naming sa matamis

at dakilang pangalan ni Hesus na Aming Tagapagligtas,
Amen.
 CONTEXT
• Refers to settings, conditions, circumstances, and
occurrences.
• Affects production and reception or audience’s response
to an artwork.
• Set of background information that enables us to
formulate meaning about works of art.
• Note how context affects form.
 DIFFERENT CONTEXTS OF
ART
a. Artist’s Background
b. Nature
c. Everyday Life
d. Society, Politics and Economy, and History
e. Mode of Reception
 ARTIST’S
BACKGROUND
• The artist’s age, gender, culture, economic conditions, social
environment, and disposition affect art production.
• The mode of production which encompasses the kind
of materials accessible to the artist.
• The conditions surrounding labor, also hope the work
produced by the artist.
 CUTTING ONIONS ALWAYS MAKE ME CRY (1998)
- Created By Julie Lluch, an artist who hails from Iligan City. She
emphasizes her female identity and personal experiences in many of
her terracotta works.
 ARTIST’S BACKGROUND
• Julie Lluch’s self-portrait presents ̶ cooking – a role associated
with women in the home – as oppressive and unpleasant.
• Victorio Edades – his exposure as a painter in the international
exhibition of Modern Art during his study in the United States is
said to have a profound impact in his artistic vision and style.
• Alfredo Juan and Isabel Aquilizan – Filipino migrant artists who
live in Australia.
 NATURE
• Nature can be seen as a source of inspiration.
• A wellspring of materials for art production.
• The T’nalak for example uses abaca fibers stripped from the
trunk of banana tree and colored with red and black dyer
naturally extracted from roots and leaves of plants.
• While nature is regarded as a provider and as a source
of inspiration, it is also seen as a force that one has to contend
with.
T’NALAK
WEAVING
 NATURE
• Availability of resources for construction is not the only factor taken
into account but also environmental conditions such as topography and
climate.

• Traditional Ivatan Houses – built using stones and fango (combination

of cogon and mud bits) for its walls and roof.
• Junyee – created the ephemeral installation at the grounds of CCP
titled Angud, a forest once in 2007 was posed as a commentary on the
abuse of nature.
TRADITIONAL IVATAN ANGUD, A FOREST
HOUSES ONCE
 NATURE
• Veejay Villafranca – photographer who alert the public
about the alarming effects of climate change and how it
forces people to become refugees in their own land.

• Roy Lagarde – black and white photographs documenting

the effects of typhoon Yolanda which shows the
melancholic images suggesting absence or loss caused by
natural disaster.
 EVERYDAY LIFE
• Philippine traditional art has always been integral
part of daily life.
• Its significance lies not only in its aesthetic
appearance, but also in its functionality to the
community that produced it
• Traditional form may also be used in daily private
situations.
PABALAT – delicate pastillas wrappers from
Bulacan with elaborate cutout designs,
enveloping an equally delicate milk-based
dessert.
 EVERYDAY LIFE
• Changes in landscapes, innovations in technology and the
popular types of media dramatically influenced our
relations and the way we lived.

• Marina Cruz – works refer to old photographs and things

like worn clothes.
• Lirio Salvador – fuses easily accessible objects like
machine discards, bicycle parts, and kitchen implements
to form an assemblage.
 EVERYDAY LIFE
• MM Yu – a photographer who captured details of
interesting patterns and forms often overlooked in the city.
She also photographed unsightly piles of garbage and
somehow transformed them into aesthetic pictures.

• Cavity Collective – a group young artist who create

temporary yet arresting images in public spaces.
SOCIETY, POLITICS AND ECONOMY, AND HISTORY
• Although art is a form of expression, we discern that
throughout its history, the works are not always created out
of the artist’s full volition.
• Changes in society, politics and economy affects artists, the
work that they do, and the structures that support their
production.
• Technological innovations engender shifts in artistic
production.
SOCIETY, POLITICS AND ECONOMY, AND HISTORY

• 20th century – photography became accessible to local

photographers as kodak set up shop in the Philippines in
1928.
• Photography fulfilled documentary and artistic functions
serving as an alternative to painting as a reproducible an
inexpensive portraiture.
• DALAGANG BUKID – the first Filipino feature film to be
locally produced in the Philippines.
•Brown Brother’s Burden by Benedicto
Cabrera

•Approximates the look of an old

photograph which, presents an aspect
of colonial history from the gaze of the
colonized.

The said technique of transforming

existing materials through the
juxtaposition of elements taken from
one context and placing these in
another to present alternative
meanings, structure, and composition
is called appropriation.
 MODE OF
•
RECEPTION
Aside from considering our personal identity as a perceiver of
an art as well as the context, it is also important to note when,
where, and how art is encountered.

• Most often, art is encountered via museum.

• Reception is vey much affected by our level of exposure to the

art forms may be unfamiliar or shocking images.
• Poleteismo – an artwork in the
exhibit titled Kulo or boil at the
CCP, which featured a
sculpture of Christ with a
phallus on his nose, among
other provocative elements,
shocked a vocal segment of the
Filipino public.