Context of Art PDF

Contex t of Art  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. For...

Contex t of Art  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. For example: the bulul, an indigenous, pre- colonial ritual object and motif in everyday life of the people of Cordillera region. Bulul believed to be a granary god that assures community’s bountiful harvest.  Question What happen to an object when it is removed from its original context and changes function? How do meanings change when bulul is presented in a museum? Different Contexts of Art ARTIST’S BACKGROUND NATURE EVERYDAY LIFE SOCIETY, POLITICS AND ECONOMY AND HISTORY 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.  ARTIST’S BACKGROUND In the gallery or museum setting, the uniqueness of the art and the artist’s individual expression is given much importance. Here, the makers are named; their works are exhibited in exhibition and sold through galleries, art fairs, and ARTIST’S BACKGROUND Red Papier- Mâché or Taka from Paete, Laguna – papier-mâché A French word which means ‘chewed paper’ ARTIST’S BACKGROUND  ARTIST’S BACKGROUND Some artists deliberately foreground their cultural identity in their works. Abdulmari Asia Imao He is a national artist awarded on 2006 integrated motifs from culture of Mindanao like Sarimanok and the other okir designs in his painting. OKIR OR OKKIL IS THE TERM FOR GEOMETRIC AND FLOWING DESIGNS (OFTEN BASED ON AN ELABORATE LEAF SARIMANOK IS A ROOSTER AND VINE PATTERN) AND FOLK MOTIFS THAT CAN BE USUALLY FOUND IN CARRYING A FISH ON ITS BEAK MARANAO AND MUSLIM-INFLUENCED ARTIST’S BACKGROUND JULIE LLUCH Artist from Iligan City, would often emphasize her female identity and personal experiences in many of her terracotta works.  “Cutting Onions Always makes me Cry” This work shows a woman crying as she cuts up onions. Why is she crying? There must be something in the social environment that makes her -- an alter ego of the artist herself -- cry. The artist's interest lies in recreating the reality of women as they suffer from customs and  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 stipped 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 is a traditional cloth found in Mindanao island made by a group of people in Lake Sebu, South Cotabato called T'bolis, Tboli people.  Tinikling – imagines a tikling trying to escape field traps set by farmers atan Houses Batanes ade of stones and fango  Juyee’s ephemeral installation at the ground of the CPP titled Angud a forest once in 2007 was posed as commentary on the abuse of nature. Fernando Amorsolo – the first named as A National Artist painted landscapes romantically that gives warm and cool feeling.  TOILERS OF THE SEA, 1980 The thick turquoise brushwork suggest the rough rolling of the waves  EVERYDAY LIFE Philippine traditional art has always been integral part of daily life. It’s significance lies not only in it’s aesthetic appearance, but also in it’s functionality. Also in it’s value 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 design, enveloping an equally delicate milk based Philippine traditional art dessert. has always been a part of our daily lives. Its importance lies not only to its aesthetic appearance but also in its functionality and its value to the community The work of Cavite-based artist Lirio Salvador fuses easily accesible objects like machine discard, bicycle parts, and kitchen implements to form an assemblage.  SOCIETY, POLITICS AND ECONOMY AND HISTORY Although art is a form of expression, we discern that throughout it’s history, the works are not always created out of the artist’s full volition. Changes in society, politics and economy affects artist, the work that they do, and the structures that support their production.  SOCIETY, POLITICS AND ECONOMY AND HISTORY Technological innovations engender shifts in artistic production. Photography fulfilled documentary and artistic functions, serving as an alternative to painting as a reproducible and inexpensive form of portraiture. SOCIETY, POLITICS AND ECONOMY AND HISTORY DALAGANG BUKID (Hermogenes Ilagan and Leon Ignacio)  The painting of National Artist Benedicto Cabrera titled Brown Brother’s Burden, ca. 1970 approximates the look of an old photographs which represents an aspect of colonial history from the gaze of the colonized.  Appropriation – transforming existing materials through the juxtaposition of elements taken from one context and placing it to present alternative meanings, structure and composition. This technique helps present  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. Gaston Damag’s striking appropriation of bulul makes us rethink how culutural representations and methods shape our consciousness.  Reception is very much affected by our level of exposure to art forms that may be unfamiliar or have startling or shocking images  Mideo Cruz’s “Poleteismo”  MODE OF RECEPTION The artist age, gender, culture, economic conditions, social environment, and disposition affect production as well as reception.  EXAMPLE Artist Background: 38 y/o, male. A solo artist. Society, Politics, History, Economy: He began his music career by joining a gangsta Group called “Death Threat” GLOC 9 Aristotle Pollisco  EXAMPLE Everyday Life: His song promotes Awareness on social injustice, Poverty and patriotism Mode of Reception: His song uplifts the spirit of Filipino’s. We get inspired. Nature: GLOC 9 His inspiration is poverty Aristotle Pollisco  Summary  There are varied contexts or conditions that affect the way art is produced, received and exchanged.  The artist’s personal contexts like age, gender, and cultural background may strongly influence the form and content of their works.  Larger milieus such as nature and the social environment shape the artist’s disposition and access to resources.  Lastly, the mode of reception is an important context which considers the moment by which we encountered the artwork and how we might respond or engage with it in relation to our personal experiences and that of the wider pulic. THANK YOU!!!!