‘What is Art for: Functions, Relevance, and Significance ‘Tm not an artist, | don't know how to appreciate at” ‘Some of youmay have this dilemma in mind. However, for others, they may have a glimpse of what ‘art means to them because they may be skilful at some techniques; but, have you ever had this lingering curiosity about how and where does one begin to study art? In the age of Instagram and Facebook, itis very easy fo come across a work of art whichis made, remade, of reused to fia certain purpose or value. ‘You must have pressed that “like” or “love” button as you deem a graphic post so relatable. YouTube offers lots of tutorials and techniques for painting, caligraphy, watercolor etal lots of young artists have been exposed to a wide range of art techniques because of them. Art and information is now within our reach. There are so many sources available to lear from. The downside ofthis quick information is that it Is very scatiered. We do not know which to prioritize and are unsure if we are getting the right information. ‘Art Appreciation on the other hand isa discipline offered in an academic setting but probably less likely to be consumed herein this country. However, ithas one strength: is premise being in the academe. To direct our often ambivalent feelings toward art, let us leam and discuss it from which, | believe, is @ good starting point: You. The beginning ofthis chapter is about understanding the functions of atin retation to your context, your needs, and your longings as a person in the context of the millennial age. The rest progresses from this stating point.‘At the end of the chapter; the students should be able to: integrate the value of atin ther personal fe experiences through the functions presen | COMPETENCIES: I practice the a of eticism and analyzing artwork; ask that can be applied to other areas of thinking: create some works that are thought-provoking, wellthought of, and show some technical knowledge; increase their vocabulary on the language of art and awareness of its platforms; develop 2 good atitude toward art institations and art issues of varying degrees; and ‘apply their knowledge of art history to the changing landscape ofthe art scene, 2 | ARTAPPRECATIONLesson 1; What Is Art to Me?: Understanding How Art Can Meet ‘Some Human Needs: Understand the role of art sa tool to aid human limitations Relate art to yourself: to your context, experiences, and longings as a person Challenge one’s critical thinking skils through creative ways of confronting life's , Do you agree with the assumption hat our generation today is called the “anxious generation”? |When you talk to those who were bom during the age of baby-boomers,” mos of them would probably describe a life formed out of simple choices to make: goto schoo, study, work, and get martied. However, the times today pose a stark contrast fo such simply, We have never been so detached from the primary values of our humanity: we ae often cistracted by ilusions and “idea lives” thatthe infemet age suggests. é Hence, inthis lesson, you wil leam and releam the valve of atin our ives. Even if you are not an artist, hopefully you will understand that the arts are actually meant to aid some human limitations that we have often ignored or set aside because of so many distractions in our generation today. These are some proposed functions of atin our ives bu are not supposed to limit other presumed ideas. There is definitely more, but considering the scope and limit of our time, we will focus on the following: 4. Beauty 5. Remembering and mark-making 2, Happiness and hope 6, Rising avarness 3: Idenity and understanding one se 7. Culture and togetherness. 4, Grief and healing Inspired by the book “At as Therapy’ by Alain de Bolon, this version ofthe seven functions of at ‘are common human experiences with which, | believe, we as Flipinos can mosty adhere to, Hence, by. taking of from these ideas, we can all eat fo the roe of art through our shared humanity, Choose any of these activities which are most feasible to do for you. Afterward, answer the portion. apteTats Art, Sonat? |“ACTIVITY 2: i ‘Vist local art and culture center. Itmay be a potiery-making place, a local art gallery, school exhibit, cual event @ museun, o local ats and crafts store, Observe what is happening. Observe the that the artists or craftsmen are involved in. If nol applicable, simply reflect on your experience ‘ofthe space. Take note ofthe guide questions below as you conduct your visit ANALYSIS: “Answer the folowing questions: {What did you see? Enumerate 5 ~10 things that were most notable inthe pace. Describe them briey a ~b. Desoribe your visit: How did it awaken your senses? Did you fee! relaxed, excited, curious, or intrigued? 4 Why is this industry of making art or other cultural materials in your place? When did they _statt? Why do they do it and keep at i? (You may modify and fit these questions to your ‘chosen venue.)GGoyals “The Thi of May 1808." Compare and conrast the work with Juan Lunas Sharan” (esearch hs ator olin). Dono ind he histrcal onet of the work et ust tebenne each one. For sal groups and discus the posse rieretatons of ho pings. ry rea otal the facors involved in creating it and lst down the paalisms you can fd. Thi of May 1808 by Francseo Goya ANALYSIS: “Answer these questions ina discussion and wite down your answers as a group: What kind of eventis being portrayed inthe paintings? What emotions ae the atists trying to evoke? For what reason? a ee ST RR ‘Asmere, frail human beings, why do you think we have such artworks to process the emotion? ‘How did the artists elicit the emotions of the narratives through the subject matter? ‘Chapter That's Art, So What? | 5‘ABSTRACTION: ‘The exercises offered us some ofthe ways that artists addressed human issues. Read the fol ‘elaborations on each ofthe functions to further aid your understanding: | of beauty, stil itis a common makes sense to most of us. “The Asts Garden at Vetheul” Claude Monet 1880 2. Happiness and Hope ‘There is something about art that mirrors the soul of those wiling to confront it. In @ societal tone, ‘artworks fend to echo the hopes and anxieties of an age. There i a wide range of properties of art why it ‘ies a sense of oy and hope to its audience. These are examples: ‘ when paintings are placed in a daunting environment such as hospitals; the experience and process of creating art itself the biss of ooking a apiece of imagery evoking @ happy memory: e.g, the painting ofa do, direct words from typography and graphic messages that are so relatable as ifthe author has read your mind and feelings; and identying oneself withthe properties ofan artwork: ahomage to something, works addressing diaspora, displacement, and other social issues. a b co a‘3. Identity and understanding the seit Tetays generation beaten" genera sas sonetnes tagged ose ‘enous generator. ‘Alot of social issues evident reflect his struggle for identity: gender issues, disconnectedness brought ‘on by social media, regionalism, and even mental health issues. How do you think art can be a tool to ‘address such challenges? Do you agree that we need something outside of us and tangible enough to define what we are feeling and struggling against? Sometimes we see ourselves in an artwork. ‘Sometimes wo see ourselves in the process, Art can serve as a powertl tol to help us communicate ‘and relay our confusion. Even psychological interventions use art as therapy to ai in processing some experiences. 4. Grief and healing Many of the most poignant and humanistic products of art were made after the Word War Il Twenteth-century ert mosty expressed human suffering and darkness in its themes. Asis such 28 Rachel Whiteread talked about this haunting remembrance of holocaust vcims in her work "Ghost Library: Here, she used an experiential ype of arts tc expression, explaring the themes of place and ‘memory in an architectural sting, ‘Throughout the years, atts have interpreted these shared human experiences indifferent ways, which also help us process our gre. Some may use art as a ool fo express pain and process it in therapy. Nonetheless, it plays an important ole in making grieving somehow dignified. 5. Remembering and mark-making How do you think has art helped us remember? How have atsts shaped our landscape? The ‘monument of Rizal in Luneta Park is one example of a type of art that helps us remember. Wihout the tangible characteristic of art, we wil not be able fo sustain our nationalistic values well enough. We have Pictures, fms, and paintings that depict heroism and nationalism. Ty o look up these artists: “Angel of the North*by British sculptor Antony Gonnley and Anish Kapoor's “Cloud Gate" in Chicago. Gormly's work has been considered as the largest scuptur in the word and one ofthe most popular. The humongous figure ofa person wit airplane-te wings is situated in Galeshead, England, and was commissioned to become an identifying landmark ofthe tegion. On the other hand, Kapoor had this humongous, bean- shaped metalic sculpture placed at that certainly builds a sense of mark and identity to that place where the trafic of pedestrians is usually heavy. 6. Raising awareness Have you seen large sculptural efges (those papier-mache-made-to-be-bumed protest at) during rales in Mania? Some art can be calegorized as acivst art. But not al areas loud and garish. Some are subile paintings which might use sabre. Inthe Philipines, many socaly-concemed artsts have emerged in the age of modernism portraying poitcians and the governments system in their most hateful actions, ‘A more subte type of inducing awareness can be observed in architecture Such as the stained glass Windows of Gothic churches and even ther iluminated manuscripts, Such is also the case of our local churches with large domes atthe altar part and huge stained glass windows. 7. Culture and togethemess Lastly, forms of art are often localized so that they bring identity also to certain regions. This is very evident here inthe Philpines, tch is geographical separated by thousands of stands—we are ‘Chapter Thats Art So What? | 7ver regaled. way, heres snse of redenpton fr topo weaknds of Pilipinas ven divide and conquer method. Do you remember the national costume of Philippines attempt to represent our unity and national identity as Filpinos. What do you think about the costume’ ‘APPLICATION: ‘Asan individual who has gone through a specific st of experiences, what Kind of art would you ‘make? What do you want to share o others? What do you want to awaken in them? Is there something you would like to remember? Or would you like your audience to just take pleasure in the aesthetics of what you have created? Remember, there is neither right nor wrong answer for artistic interpretation (can ‘be made or captured e.g, photo). The goal is to express something of relevance to you as a person (even. {eye areca) na ulm, Yodo ret hav prea ee esican be ta penna “wok: Pasle Fee you snple drawing, an artwork of any median, Sees eae represents your answer to the guide questions above.Assessment: Ss ee ee ‘The students willbe taking part in crczig he functions through group discussion. Upon analyzing the functions of art, let us now try to see how effective these are in meeting the objectives of the lesson. 1. Were the functions presented effective? In what other ways can they relate to arf?Lesson 2: How Do I Study Art?: Making Art agrees ane Learn how art communicates colors, symbolic quality of shape, line mover {quality of texture, the drama of lighting, and many others Be able to read design principles behind some effective and thought-provoking forms and graphic designs ogee shroveh fthand experlence 222 2esc say > Mmmm 8 F035; a a a EI = q s 7 INTRODUCTION: Have you ever walched something being made: imelapse ofa bung constuction, a ( venenatis a tr sii wes ar pug dy Wa be ape oa | ‘There is something satisfying in seeing these processes and how things are created. One can have 4 clue onthe sil se, mater, and mead required toget thetask dane. Inthe same way, we canal lam lo appreciate at by taking ime to careful that make up te diferent art forms, ae! ee This lesson wil cover three topics: Elements and Principles, Design Psychology, and Materials ‘Techniques. These are meant to first-hand. ro paca omen help you gain experience on the creative process and‘Draw a tree but with ferent methods: ‘a. Draw using your non-dominant hand. b. _ Drawina square word where everything is square & Draw using continuous ies. 6. Color only the outside of the lnes. ANALYSIS: Inthe acy dd you sere how a simple change in how you infrpreted a simple obec ies different dimension tothe subject matter? What does each box, withthe tree, remind you of after doing the exercise? 2 cy oaigigeto ate setae fer easier ae focus onthe techniques. ‘a, Jackson Pollock* b. Rembrandt ¢. Vicente Manansala © Ang Kiukok “optional flm viewing ‘Chapter That's Ar SoWhat? | 12.> WI rere R22 2085 2 ANALYSIS: How did they teat the material? How would you describe tei paintings in tems of ts appeal fo you? ‘ABSTRACTION: Whats ina circle? Art Elements and Principles.) Elements of art are the formal or tangible aspects of ar. These are termed as elements because Peleg pe bat eee ene ere y‘Shape — implied (shapes produced by the negative i Fom —Three-dimensional shape. Can refrto the quality or lkeness ofan ene mass et ‘psa; fom of woman employs several tectniqun ke shacngPerspeciv, and / ) Gu coma VO \ Ssinueisatliaistu suse ina tonal value “scale, it has two pars: the tints (ighter tones) and the shades (darker tones). ‘Alone is a {general term fora certain value ' Color ~ also known as,five) Scientifically, itis the ight tht bounces off a surface. In af we ‘ie subtractive colors, Le. colors tat are from pigments. Addve colors refer to @ property of ight. te f _Terture ~ can be used in paintings tke impaso, stamping, and scratching in potry, ‘embossing when making prints, and many others, Contemporary artists have also used the clement of texture to convey a certain emotion: Light - Without ght, el the previous elements wil not be possible. Light creates the ilusion ‘hat color, form, and texture exist, Light can be implied, natura, or artificial (as with a digital rendition). The lighting of a artwork has a very twong effect on its overall impact. An example of strong and theatrical ighting scaled chiaroscuro. — (41+ -/ov ke Space ~ an area where the other elements can interact. Two types: posit space. Double negative space refers to a blank space used as negati Representational simply means it mimics what i real or whal can be seen. The image is recognizable 2s interpreted by the artis. Abstract of the other hand is @ modified interpretation of something that exists, butt becomes hardly recognizable, Last, nonrepresentational artis purely concermed with foms, shapes colors, andthe resto he elements. It does not represent any other subject matter outside of sel (Chapter 1 That's At,SoWhat? | 13ka 20_2 Wns toclents. ‘Aterlearing about te elements, et us now study how they interact with each oer in some of favorite at works or designs. ‘There isa certain appeal othe eyes when something Is repeated on the coling of restaurant ‘an unddantintafation of wood. The well hough arrangement of colors in an interior makes pp Principles of Design are long held composion techniques which have been proven and ty both fie and graphic arsts to communica ideas and concep effectively. There a varie @ proposed pinciles but here are some: Contrast ‘Design principle which uses the element of value {o create depth and dimension. Light aso plays ‘animportant role in creating good contrast. Harmony Elements are related to each other in terms of ‘esthetic quality of 2 work marked by a sensible balance between two areas: right and left; top ‘and bottom, Creating 2 sense of direction through repetition of elements. Movement direct the viewer's eye toward someting, ‘Elements should be seen as a whole in unity variety sil gives @ sense of wholeness but the laments differ in some aspects and provide ‘more interest to the work. ‘An area or @ specific subject is given focus; hence other parts of the picture are subordinated. This can be either an appropriale use of scale ‘and proportion ort can also be an effective way ‘of changing the scale to achieve a certain visual goal. It also shows relationship between theAPPLICATION: ‘What is wrong with these designs? casider exe lustroons. Analyz® why they fll shor of good compost or design. ANALYSIS: “These are some artworks that effectively used some art principles. Describe each image and state wy te use ofa spec rnp became efectve in ncreasingfimproving the impact and quality of tei Works, See if you can also find more principles present inthe work. Compare your answers with those of ‘your classmates, Use the space beside each image to bre state your answers. ‘Chapter 1 Thats An, SoWhat? | 15222880 a3 > z BRAMso > — Psychology in Art \Whyinclude this idea in symbols and images can bene a way, is amethod of psychology onnect those meanings together. nhs topic, we now integrate topics of elements and principles, the study ofa: making? Relating art lo how the brain receives and inte fit one's decision ineffective composition and visual communication. Art and in understanding how people perceive images, create meaning the “wy of art-making into the previ Gestalt Theory this strategy tends to “sum up" an idea into one iconic imagery. Itoften plays the negative and positive space and makes use of both. Consider the example on the lft This is an example of Gestalt. Since it seems to become a summary of the information that tt artist wants to present, this approach is very effective in making logos. Look up the logo of WWF Wildife Foundation). You wil notice the form of the panda right away. However, upon close examinati the image was actully formed using disconnected shapes and lines. Such is a principle of Gestalt ‘communicates the whole as the summation ofits parts. If you are more inclined toward math, you ¢3 ‘understand the idea of summation here and probably relate it to aesthetics. Color Psychology —Colors have imbibed certain’ meanings. Whether itis a social construct of} product of association, these hues certainly appeal to our understanding of the world based on how are used. Here are some examples: 16 [ ARTAPPAECIATIONprevious page? ranged space wih the inenon of arise expression, Har Wats your favorte colo? Can you ds rearing among the eames rmeriioned in the fonction of tines and shapes A composton i basicaly owe clernents are “some compositional devices used by arotal arts andar sil evident these day: (ve sale imagery) ‘a Ahalfcirele,oen usd in domes for some casa paintings and even madem areitectxe, tmboizesfemiinty because of ts wombike chaps, ‘Since it has no comers, it 380 arivates eteriy. Sodkasm in art has a diferent connoiaton for the cic, which states about people's equality [A triangle, when used in a compostion suggests relationship. In Leonardo Da Vinc!s Madonna of the Rocks" the triangular rangement ofthe Sgures, wih te Madonna atthe ‘apex may suggest stabilty and incination toward the central figure. Madonna ofthe Rocks’ by Leonardo Da Vinci Chapter 1 That's Ar, SoWhst? || An implied ine or ine movement in painting may intentonaly lead a viewer 08 point ofthe subject matter, 239 ‘Green Wheat Fields, Auvers*by Vincent van Gogh ‘APPLICATION: ‘Create your own logo, emblem, or symbol based on the guiding principles of art and psycholo ‘The image can be about paricular advocacy you want fo promote, a tool or gadget you envision in the future, or just simply you as a future professional, What color would represent your envisio ‘brand? What would be the shape and what does it symbolize? How would you compress information havea strong impact in your imagery? Draw and color your branding or logo in the box provided. WEE FCs Quick Facts: What is a medium? ~_Amedium, lke in language, is the tool or the material used in realizing the expression. In vis as, this isthe term forthe materials used in specific types of technique, let us say, dry media fo drawing. It can include penci, charcoal, or pastels, Watercolor is an example of wet medium. ‘conventional types may include mixed media, computer graphics, and even found objects, ——t_ >| 222mco >[ACTIVITY AND APPLICATION: apore Materia and Techniques by dong any ofthese activites. the next procedures are nok posse eg. youhae no knowl of video edn) you may sick wih a frst procedure Sc 4. Cover bote wih different materials. Discover what you can use as long ast can stick to the bot. Use gle if needed. For ideas, you may cover with clay, papier mache, sawdust, transparent material decaying matrl somethin rubbery, lc. Creat atleast four variations ‘ofthe covered obec. Put the bottles next lo each other ‘each bot. Use lighting and explore backgrounds that can complement your work Just be experimental. Layout the photos together. How do they look? Create a 10 second clip or gf witha person interacting wih the bottle. ANALYSIS: Realize that we can aclually categorize what youjust dint the following suggested categorizations: ‘© 2 Dimensional: photography, drawing painting, printmaking, et. ‘© Dimensional: ound objects, casting and molding sublracve and additive sculpture © Ephemeral: performance art and video art ~ {| ya rips ..| Reflect on how different materials and techniques can change the character and object you ae portraying, Answer the sels of questions below, prea ‘a. What do you think is the most dominant design principle/s in the set of bottles you made? Chapter 1 Thats Art So What? | 19How di each covering change your perception ofthe botie? Describe each bot: | & Ifyou were able fo reach unt the third procedure, how did another approach to art-making (fling) change the context andthe function ofthe botle? What ideas were you able fo come Lpwit as you interacted with the diffrent covered objects? ABSTRACTION: More often than not, you might encounter a time in your life where you can envision a painting or ‘Sculpture that depicts an idea, an emotion, or an experience of your own. As one writer says, we all have ‘a work of atin our minds. However, not al of us can translate this into reality, This Is where the skill or the knowledge of techniques and materials become essential. That is why there ae artists—skiled and talented individuals who can help us address our non-verbal yet significant human expressions. Also, we should not miss the fact that because ots of materials are now available and have become valid forms of at, our expressions need not be limited to drawing or painting, Technique, on the other hand, takes time | and practice. Combining the two, excellent techniques applied fo material, art expression becomes more Ht 4 Example of an installation at. Ths ype of artis ephemeral considering the type of materials used, which ‘are wood shavings. The artwork i the author's undergraduate thesis enild “The Unfamiliar Home.*Assessment: eae ee How do you think these elements and principles are coherentiparalel with other art disciplines (music, dance, et.).Do you think it makes sense that they are called elements and principles? ‘Citque: Do you think its necessary to study frst these knowledge fora person to be able to create ‘a good work of ar? Why or why not? Do these terms pre-empt an artist's experience through solid facts? Why or why not? ae ee ae ae SE ‘What can you say about the experience of creating something for artistic purposes? From the last ‘activity you performed, can the process help you to think of a related concept or dea? If you were: touse the products ofthe application part, how and in what concem or issue? Challenge your mind {o think out ofthe box and compose something thought provoking. Chapter 1 TharsArt So What? | 24Reading Art Lesson 3: How Do | Study Art?: | ST 7 Learn about art history, arteritcism , and art theories (methodologies) tate art history to significant events that transpired in the lst few decades rar eriiism by asking appropriate and relevant questions + Construct prop | pues coflooking at and reading art INTRODUCTION: ‘The most boring topic: How did Art begin? History my be quite a’sedenaty tone, often associated with memorizing events ‘and becoming familar with chronological evenis. However, if we want to have sensible knowedge about art, itis sppopit fo just ok note les ofthe past. How can we beter understand the climate of art now i wpm ot know how tas been nivenced by ass who strove fo evo the meerng and expression ofan? Inthe rt lesson, we wil have a quick run trough of istorical marker inthe at scene. Through this, we can bet understand the present and where some analogies and appropriations in at came fom. iting abou at wil lobe easier we have knowedge of istocal context: the experience of at ‘wll become more holistic and more fufiling. os ‘Adetal of neoclassical rele atthe National Museum old senate session hall ‘Weaved into this lesson isthe topic of Art Criticism kinds that will hel inkrowi ‘of works to select and hopefully enhance yor pa ip and guide you in knowing whatQuick Facts: ‘An art period is. spec lengt oie in history with a prominent movement, tend, creed in atistic practice. ‘At movements are sets of distinguishable styles and artistic ‘a major trend in techniques or approach. Usualy, they are named with the suggests a certain atttude toward painting or any art-making. [Art History Quick Map: This quick guide to Art History is intended fo be brief and concise but should also prod you into a ener ofan tpt peri: = Oba Cave paintings, Venus figurines which are considered portable sculptures — Greek standard of beauty: the birth of the “Classical” Age ~ Romans: the competitor of Greece; created realistc sculptures of human figure. - BUR pig: Ceiightve 9) ‘The “death’ of atistc freedom due lo canonical standards of visual interpretation The rise of Gothic art especially in Gothic Churches. fied yeep tenant yen liners of Renaissance © Revivalotaisic genus 2 ‘Where the term Renaissance Man’ was derived because of mar's intellectual achievements in the arts and science $ "Wo ine sie; Dora Da Yi Michaslanglo, Raphael, and Van Eyek i wel sbarnee etary apts Grandiose and omate art i‘ aoe WS a oes Choker Aistc innovation: “Seid ate ald Sarai 9 bites on kin a tennebrism Ait roe Caravaggio (tl), Velazquez (Spa), Poussin France), nd Antonio Gaudi Saee Aeseeea eree Menten19th Century = Emergence of ‘isms* = Neodassicism: Greek and Roman Classics revived = Romanticism, Realism, Art Nouveau, Impressionism = Photography comes into the scene = Post-impressionism, early expressionism, and symbolism, ‘20th Century Modern Art = Attbecame more non-representational = Gatish colors explored in Fauvism — _ Abstracted sculptures emerged — Simplified forms in paintings by Picasso and Matisse ‘At movements: Cubism, Futurism, Constructivism, Expressionism Dadaism: the art movement that defies logic = Surealism: stepping into the dreamword — American art blossoms: Jackson Pollock became famous a8 “Jack the Dripper” and paved the way for American Abstract Expressionism Mobile Sculptures (Alexander Calder) and Color Feld (Rothko) paintings also became ‘20th Century to Contemporary = Highly experimental and radical — Popart defines consumer cuiture; dominated mostly by works of Andy Warhol = Minimalism: glorifying the simplest art elements = Birth of conceptual rt Photography is futher developed which paved way to art movement, Photorealism - __Neo-expressionism or new expressionism is characterized by strong subject matters. — _ Contemporary Art: a very diverse art scene; the rise of appropriation, photography-derived | ‘works, graphic style of art, experimental works, multimedia and multi-modal artAcre: ‘To make this leaming about art hislory more intentional, let us futher process and assess the Information provided previous. Leam more about some of the at periods though tis activity: 1. Split the cass into groups of 8. ” es ‘Assign each member ofthe group with a particular art period, ‘Search books, e-books or you may refer to the pdf book (compiled in the accompanying CD would best represent ‘ofthe book) about the assigned topic. Then, collect 2 ‘each art period. Do not collect more than four. Pick artworks that intigue you and that which {yu wil be able to discuss tothe class. The objective is forthe students to become familar wit the historical period where the artwork belongs. Compile the works (i no particular order) in ether ofthese formats: © PowerPoint slides 3 © Picture booklet Play a game in the class, Each group wil show their output and lt the others guess which period it belongs to. Give an explanation about every artwork after revealing the correct answer. : Insight: if art history is an objective study on at, art crcism will teach us how to apply critical thinking when looking and interpreting fom of art. Hence, history diects us to a more holistic critique of art Att Criticism ; Artworks are didactic in nature, therefore they demand a response. However, oftentimes, being confronied by artworks is quite perplexing. Meaning is sometimes inaccessible to the commonplace person. However, if you ae awerk ofa; how would you ke tobe erized? Do you wank o be judged or : ‘ésmissed right away’? Or would you rather be examined caefily frst before atvng at a conclusion? Most us will choose the att Its the same with artwork analysis and art cic. indeed, itis ‘more proper to know more about an artwork before arriving at a judgment. = ACTIVITY AND ANALYSIS: be AES hes -___Letus say we ae ina gallery. There is.a particular work that strikes you. The curator comes to you ‘and asks you how he may help. You do not know exactly wre to stat with your queries, How do you. actualy read anartvor? You just know tat you it. Some people have a background in psychology ‘or art cicism that makes them familar wih semiotics (study of signs). But what if you have none of those? Chapter ThatsAr So What? |Letus say this artwork below is what you saw. | Now, crique the work based on the folowing, Write your answers on the spaces provided. i 1. Formal qualities: simply enumerate the elements that you see: the quality of lines, shapes, colors, tc, for wero teecees i agave Men rica. ha) 5 hie CR uate oa ob a 26 | ARTAPPRECATIONSubject mater: Whats tears tacking abou? Can you see ay representational ams? If none, what do you thik isthe main subject matter? = ee eS ee a Composition: Consider the arrangement of objects, people, or elements, What is most prominent? ‘Who or whats on the foreground, middle ground, and background? a Po a Technique: Looking at the technique and manner of painting and composition, how is It related the artist's objective? . i s ore ee vn Content: What do you thnk the artworks all about ater careful examining its pets? What story, what message, and what argument isthe artist tying fo tell? s ‘Analysis: Further cig ito the aris’ intention in terms of the relationship of each part othe whole, Keep asking why, and ty to answer them based on visual cues. Research futher if needed, especially if there is historical connection, ‘What you have ust done hee i an exercise in art ericsm. As you can see i takes some careful on belore one can deduce meaning andinterpretaton about an artwork. This just suggeston| DW yOu can critque better and apply ito almost any work of art‘Many of us like entertainment and social media, It is flamboyant, noisy, and easly catches our atiendon, We often just take in the information and news they provide without sifting through ther and realigning what we have heard or seen with our values as a person. In he discipline of art cicism, what dit teach you about the act of looking? Should you just aocept what is placed before you? Why do you think itis beter to countr-check every judgment or thought that comes info our heads, no justin at, but ‘also in everyday Ife? Write down your thoughts: ABSTRACTION: (.~" ‘Ast Criticism as mentioned by James Elkins in the essay, What Happened fo Art Criticism, is a discipline of the arts that seems to be both healthy and dying. if you live in a city where there are art {galleries and museums, you will notice that these institutions produce exhibit notes and pamphlets that give a lite bit of informative and elaborative writing about the artworks on display. However, this is not widely practiced in the academe, especialy in terms of General Education. Do you think this isan important skill to learn? Why or why not? ‘Methods in Reading Art: What is a method? Think of methods as filters that help you appreciate aspects of atin diferent lenses. There are some “ites” that are more effective than others, especially when we talk about context and content. Haye you encounlered philosophy as a required subject to study? Philosophy has been man's attempt lo make sense of why we do what we do. fwe want to become more diverse in our approach to Jeaming, art methodologies is one of the means and these are mainly hinged on long-held philosophies. Depending on what the artis taking about and where itis from, we can read it in a non-biased way through these approaches: 4, Formalism and Style ~ basicaly gives importance to the formal qualtas (at elements, materials, and design principles) 28 basis for the meaning of art. Roger Fry is a major ‘purveyor ofthis thinking. The form is the content per se and does not take history and context into account.2. _leonography — Focuses on the subject matter primarily over form. When using this method, youl answer questions Ike: whos this person the artist panted and whal does itrepresent? iit te art choos this image and what fr? Contextual Approaches - From the term jiself, context becomes an important factor in criticizing artworks here. We can take many approaches to contexts like Marxism, Orientalism, Colonialism, Racial Iconography, Feminism, and Gender. As you can observe, these are ‘mainly schools of thought and philosophical movements which place an artwork within a certain parameter. For example, Maris is about atin relation to economics. On the other ‘hand, Feminism is bent loward the societal context of art wherein gender becomes a strong factor inthe forces behind en artistic creation. Biography and Autobiography ~ Considers the life and context ofthe artist. This approach i ved on POTD Eee Pee OER ‘and personality are directly ‘connected to the works that he or she reales. se ‘Semiotics — From the Greek word "sem," 2 eee te is assumed to be composed of a set of signs that may have significant cultural and contextual ‘meanings beyond sel Psychoanalysis — Freud is probably a faniiar name in the field of psychology and he is one ‘ofthe basis of his theory. In psychoanalysis, one is concemed about the unconscious mind in relation tothe ars, the viewer, andthe cultural context iti involved in. ‘Aesthetics and Psychoanalysis ~ Individual nation of what Is considered acceptable, beautiful, or attractive in works of art are in part influenced by psychological factors. This approach then connec psychology to one's constructed philosophy of art.+ Understand and appreciate the lives of artists and craftsmen: why they create art and for whom «Be aware of issues surrounding the lives of artists and relat it to your own set of experiences \al3 Develop an attitude of inclusivity when it comes to artists, especially those with | amg" mental incapacities INTRODUCTION: *.sthere isan art ofthe future, and itis going to be so lovely and so young that even if we give up ‘our youth frit, we must gan serenity by i,” Vinoent Van Gogh in his letter to his brother, Theo. “Self Portrait” 1889, Vincent Van Gogh ‘Why did Van Gogh dedicate so much of his life to the future achievements of art? His presence is now oflen seen in restaurant interiors, in the web, and even on novelty items. The price of his works has skyrocketed to millions of dollars. His renowned, and a favorite of most, “Stary Night” rings a bell toa lot of people.‘power. It does not le on money or polis, but, on his or her for what purpose wil that power be used? ‘nthe cher hand, behind Van Gogh's asc achievement was ahs ofstuage ove! whee ris atu ey mai ater on. He was oo huran. He never aw te plana of Hs asi corer Tris Metme;buthe had avsion and ana mission tat weal benefited from- ‘What thre are no ats suc a Van Gogh who wou enon he ute of art-making tt a ened? namuchos ase aw el alt of srs, to fen far ar eo 9 cnet aoe oa. Shayg ek sugges sues and etre can entane the way we view avon! Me in general ‘sts ten have a crain kind of capacy to infuence. The question now is, activiy; In these series of actives, we wil ty inmerse ourselves Inthe ives of participant and observer in each activity. 4, Onartist rivalry ead his comic stp about a czlogue between Michelangelo and Leonardo Da Vind. ‘arfsts. Be an active To slay daa pret haar, ut vcard ty Yostor bs eckef mae ae, ‘baw form wag be acorn ea mat ttt rm sock de ha ir Bet bere, hal ih fe rapt 1Da Vine: To study and craw a perfect human fom, | must dissect cadavers and study them scientfcaly! The flesh and bones are fundamental in the pursuit of perfection! You know ths block of marble here, there i a form waiting to be discovered inside it must subract rom his block and et thal figure out! But before tha, | shall ink fire for inspiration! ANALYSIS: es ; “This maybe usta hypothetical conversation between Leonardo and Michelangelo in terms of their ‘art-making but the contrast tells us aol about theirndividual approach toward the artiste process.I you can meet. Leonardo da Vinci today, what kind of person do you think you would ‘encounter? Based onthe comic strip above, write your assumptions below: b. How about Michelangelo? What type of personaly does he have? Briefly describe him from what you have read in the stip: ‘¢. _ How do you think can artists use rivalry constructively? How about envy? How can itbe used positively? 2 Onemulation Think of three to ive people you really admire and want to emulate. They may be linked to the ‘areas of your talents or skis and even interests. List them below: ANALYSIS: What do you think about these people, what makes them great? What do you feel when his or her name comes into your mind? Write your reflections below: 3. Oninclusivity Read this short blographical excerpt about Chuck Close, an artist. In 1968, a Spinal blood cot lft Close almost completely paralyzed and confined to a wheelchai. This posed a great challenge tothe artist's career. However, with much determination, a device was ‘developed to strap a brush to his wrist and forearm which allowed him to continue working. Since this ‘method limited his mobilty, he replaced the minute detall of his eatie painings with 2 grid of tes (34 | ART APPRECIATIONANALYSIS: ‘nat did tho atic tl you about the artist? What happened lo hin? How did he adapt o Ns ésaby? What con you reflect on the realty of ysl rations (or even mental 0 deena depression, schizoprenia) andthe challenge that his poses io atts? ‘The Artistic Process Unite the common notons that artists are to spontaneous, laid bac, and uneystematic, individual art practoners do need to have sts of procedures and dscpines. Even the most spontaneous Ones enc wth a process, however simple and succinct. Ass ae aso thinkers and even great invenios Ry saan The create process i ao a problem-solving approach involving 2 lt of systems of Trowedge. Art can vera lt of subject mats from scence, posophy, and even racial Wing, crevice be apple to such aeas of knowledge. As Einsten sald “Ate a certain high level of echnical Sis echeved sence and a tnd to coalesce in aesthetics, plasty, and form. The greatest scents avarisseswel” -VENN DIRQ AY This dagram des not necessary precede artistic creation, butt comprises the elements that ie up logethe inthe conception of tangible at form: (Chapter 1Thats Art, SoWhat? | 35_/ Rivaliy, Evy, and Artistic Preferences: hhave a consivetve efect if taken ina diferent way. Asa famous adage says “ood arts copy, grat ass steal” Inclusivity of Artists tn the previous activity, we came to realize how artsts are also subject fo human faies. There {is Chuck Ciose's paralysis, Van Gogh's mental health condition, and Jackson Pollock's problem with ‘@ronic inking which caused his death. Working with artis not aWays working on a dream job: seting Lup an easel ina stuxio overfooking a breathtaking view. lis actualy the very opposite. tis a daly wrestle ‘between survival and passion. It does not always promise monetary retums, often side jobs are needed to survive a life as an artist, especially in third word county as ours. Hence, the pressures of life along with the demands of ar-making are cause some psychological and physical stress to the ats’ life. Hans Prinzhom produced a book about the Artist ofthe Mentally I. This is @ good contibuton to the vision of cignitying people wth mental dsabilties or incapacties. Democratization of culture, which is evident in the 2019 edition of the Cultural Center of the Philippines (CCP) Eneyclopecia, has blurred the line between high and low art. Henoe, we should also Strive to change our atitude toward those who are considered the elite of the art scene because of their educational backgrounds and those who were nat privileged to obtain a degree but are prolific in {heir own art-making. The craftsmen's craft and the non-degree holder artist deserve the same value or Valuation as those given lo works hanging on the pristine white walls of museums and galleries. Added Insight: Valuing of Artist's Process and Work through Money We have seen how in the later part of Van Gogh's life, which was actually his death, the value of his works shoot up to milions of dollars. Why do we equate money withthe value of at? Why the need to spend money on art? When we consume something, It means we ether need itor want i. But have |we wondered how we spend our money and on what? More often, we do not see the point in buying art ‘because of our problem with taste. How is this? Let us take for example our fondness for fast food and. ‘branded but overpriced items. What we buy also defines what we value. if we do not value our health, naturally we wil just buy whatever we crave. But, we value our wel-blng, we buy things that are good for our physical bodies. Hence, iat reflects Our nobility and highest potent, how do we value itn terms of expenditure?APPLICATION: ‘White a short biography of an artist whom you know buts notyet established in he art scene. How ‘would you promote him or her? From the biograpy, imagine yoursel creating exhibt notes printed on. ‘ice lossy paper together with some of his or her work. How would you presen him or her in a way that Is convincing o your target autience or market?Lesson 5: Is Art for Everybody?: Art and the Society Realize the importance of art critics when it comes to educating ourselves with, taste 3 ‘Compose for oneself a set of standards for individual taste Adjust one's mindset to the idealistic qualities of art and the practical reality of INTRODUCTION: ‘ oes art rally have a direct impact on society? One ofthe crucial questions | had when | was graduating student of Fine Arts program was the possible contrbuton of my tesis work: fst othe art ‘Scene and then to our society. Hence, en base choy os nen: pc ceucah My work was not @ social realist work. Hence, how would ithelp fo my fellow countrymen? Time and experience have taughtme * that we must fist understand who we are and inthis case, our citzenship. With that we must gain 2 sense of responsibilty. Agood artist must bea fs an everyting else you do must hinge ‘on what you believe is ood, rue, and beautiful for your country and society. However, as part of society, sometimes what hinders us from appreciating at is our poverty. Not in terms of money, but in our awareness ofthe things that are really of more valuable than money. Att is a powerful tool, as we have seen in the seven functions presented at the beginning of this chapter. Society as recipient ofthe arts and what they are trying to engage usin are also part of what circulates around in our art scene. What we consume also dictates what is circulated. Hence, we are ‘an important player in the kind of artistic culture that we have. What we consume has an impact on what we value as a Society. g This signifies the importance of education, and in our case, art education.acriviry: Complete each pure by acing and connecting tothe lines or shapes. Work wih a partner you hhave a hard tine ilusirating. Label each box according fo what you have drawn. oo Ore pele 5 Based on the activity you have just done, answer the fllowing questions: 4. What were the limitations of the activity? Why do you think you drew what you drew? Did it reveal anything about your influences person? How about your partner (you worked with someone)? {In your opinion, what do you think are the limitations of our society's setting today (politcal, ‘economic, and social) and how does itimpact an atis's career? In the activity, you were given preliminary sketches that functioned as a force for you to add ‘something to it. In the same way, what do you think are the forces behind the production of art? Give three basis as to why attsts create:ABSTRACTION: For whom should art be made? Fora more holistic study of at, itis important to question and to ponder on the forces that niuence the creation, circulation, and consumption of art. you encounter a person wit fullbody tatoo in Kalinga province ofthe North, how would you react? When we are trying to ctique an artwork a fot of things shouldbe taken into consideration; and in this regard, the reason wy it was made. Finding an answer to this can give more value and meaning to ‘a work of art, We wil not just easily dismiss it as boring or grotesque, Jn understanding the forces behind the creation and production of art, we may consider these facors: personal belief or values (bei as an instituton, a community, or an indhvidual),pracical needs (it could be survival or developmental), and the audience's level of consumplion. These forces can be "academic institutions, galleries, museums, ruing classes or people, media, church, and even a small ‘group of indigenous people with sets of beliefs and traditions. ‘AcTIVITY: To aid us furtherin understanding how we, as recipients of at forms, influence its production, fill out this simple exercise on taste, but under time pressure or only 3 minutes. Afterward, you will share your ‘answers with groups of 4 ~ 5 students. ‘chapter Thats Art Sonat? | 47ANAS: ‘Ate: ong act, lw now sess your answer 1. Wado ouinkare the basso yout rspeses? How dd oun te ache, ine, or usta bit challenging? oh , Be ei eca so ee | ‘what you lke? . 3. Ifyou did the activity in less than 2 or 3 minutes, what were your main influences in your answers? Explain how such infuences helped you in constructing your taste asa person: ee a es How do you think having "good taste" can infuence the way we ive our lives? Does it always entail expensive things? ABSTRACTION: Educating for taste ‘What s taste? We Filipinos often associate this with daling. When we see a rend of ours with @ itriend or boyriend who has good looks and even good background, we can easly mutter, “You have (900d tase.” But this is nt the kind of taste we are interested in. Yes it can be applied to that, but tate is more concemed with our choices of consumption: what we spend our ime, our money, and our efforts on. JIncur tastes, what do we value? The tings we value, do they make the quality of ou lives better— ‘mentally, emotionaly, physically, economically, and even spiritually? Later on, when you graduate from ‘college and stat eaming money, you wil instantly become a market for so many things, Wise expenditure, ‘or spending our money wisely is quile rare these days, Reflect on these words by author Alain de Boton: “When money is aed with taste—that is sensitivity to what is good and beautiful as wel as true fo ‘ur rather inarticulate need—very good results can followin areas from food to housing to media.”‘Quick Fact: ‘Whatis an at connoisseur? ‘Someone who has broad lnowledge and rich understanding of the cuentaft'scene, of relative artistry, and aise philosophies. They are experts who can be trusted in having the eye and taste for good art, But how should we know wich to velue, and in this sensa, how to value art works and products ‘of our culture? Here, we can stro understand the role of Art Cris. These people who use wring 4s a means of communication ae trained in seeing and looking at works of at and judging their vale based on a good set of premises. Sometimes they are aso called art connoisseurs. At Cries help us understand and supplement our knowledge of art forms. With ther indispensable role, we can better ‘evaluate our tastes and even be wiser in what we consume, nt onlin art but fein general Chapter Thats Art So What? | 43