SENIOR HIGH SCHOOL

CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS

SELF-LEARNING PACKAGE
Quarter 2 | Week 4-6

Materials, Techniques and its

Application to Contemporary
Art

SHS—CAR
Competency: Critiques available materials and appropriate techniques and expli-
cates the use of materials and the application of techniques
CAR11/12TTP-OC-e-12/13
Contemporary Philippine Arts from the Regions – SHS
Self-Learning Package
Materials, Techniques and its Application to Contemporary Art
First Edition, 2020

Published in the Philippines

By the Department of Education
Schools Division of Iloilo
Luna Street, La Paz, Iloilo City

Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the Government of the Philippines. However, prior approval of the government agen-
cy or office wherein the work is created shall be necessary for exploitation of such
work for profit. Such agency or office may, among other things, impose as a condition
the payment of royalties.

This Self-Learning Package is published to be utilized by the Schools Division of Iloi-

lo.

ALL RIGHTS RESERVED. No part of this learning resource may be reproduced or

transmitted in any form or by any means electronic or mechanical without written
permission from the Schools Division of Iloilo.

Development Team of Self-Learning Package

Writers: Jesica D. Mestio

Illustrator: Armand Glenn S. Lapor

Layout Artists: Lilibeth E. Larupay, Armand Glenn S.

Division Quality
Lapor, Zaldy Lilibeth
M. Tondo, Rolando E. Larupay,
S. Obal Jr.
Assurance Team: Zaldy M. Tondo
Management Team:Dr. Roel F. Bermejo, Dr.
Reviewer: Zaldy M. Tondo Armand Glenn S. Lapor
Nordy D. Siason
Dr. Lilibeth T. Estoque, Dr. Azucena T. Falales
Ruben S. Libutaque, Lilibeth E. Larupay Zaldy
M. Tondo
SHS—CAR
Competency: Critiques available materials and appropriate techniques and expli-
cates the use of materials and the application of techniques
CAR11/12TTP-OC-e-12/13
Introductory Message
Welcome!

The Self-Learning Package for Senior High School is developed to guide you
our dear learners to meet the standards set by the K to 12 Curriculum.

The Self-Learning Package aims to guide our learners in accomplishing activi-

ties at their own pace and time. This also aims to assist learners in developing and
achieving the lifelong learning skills while considering their needs and situations.

For learning facilitator:

The Self-Learning Package is developed to address the current needs of the

learner to continue learning in the comforts of their homes or learning centers. As the
learning facilitator, make sure that you give them clear instructions on how to study
and accomplish the given activities in the material. Learner’s progress must be moni-
tored.

For the learner:

The Self-Learning Package is developed to help you, dear learner, in your needs
to continue learning even if you are not in school. This learning material aims to pri-
marily provide you with meaningful and engaging activities for independent learning.
Being an active learner, carefully read and understand to follow the instructions given.

REMEMBER ….
To answer the given exercises, questions and assessment, USE your Activity Note-
book or Answer Sheet. When you are DONE, wait for the teacher/volunteer to collect
your activity notebook/ answer sheet.

Good luck and God bless.

SHS—CAR
Competency: Critiques available materials and appropriate techniques and expli-
cates the use of materials and the application of techniques
CAR11/12TTP-OC-e-12/13
 Materials,SELF-LEARNING
Techniques PACKAGE IN
and its Application
to Contemporary
CONTEMPORARY Art
PHILIPPINE
ARTS FROM THE REGIONS
Learning Competency:
Critiques available materials and appropriate techniques and ex-
plicates the use of materials and the application of techniques
CAR11/12TTP-OC-e-12/13
 Ready to Launch!
Art viewers can appreciate artworks if they can understand and grasp
the meaning of the artwork. The viewers are also called "gazers,"
“onlookers," or “audience." In art viewing, viewers bring with them their
knowledge of art, biases, and judgment of beauty.

This means that when the viewers are educated in art or have been ex-
posed to different kinds of artworks in different contexts, they can appreciate
the physical! qualities of the artwork, interpret its content and meaning, and
make a judgment whether it is beautiful or not.

Aim at the Target!

After going through this module, you are expected to:

1. analyse the method of description of contemporary artworks’ subject mat-

ter, medium and form
2. apply description on a sample contemporary artwork
3. analyse the method of analysis and interpretation that can be used for
contemporary art appreciation
4. apply the method of analysis and interpretation on a sample contemporary
artwork

Try This!
Ma. Victoria Abaño's artwork, Initial Reaction, can be better appreci-
ated using description, analysis, and interpretation of art. The artwork has
portrait images that represent people caught in their initial reaction to a stim-
ulus. The artist chose textile because "unlike paper, which is the conventional
printing ground, it is malleable and flexible. It can be stretched, sewn, cut,
folded, compressed, stuffed, and wrapped around objects."
The art viewer will see that unlike the usual portraits, the artist chose a
post and wrapped it from top to bottom with human images printed on tex-
tile. The height has an overpowering impact on the viewer. The images are not
flat on the wall but have contour or volume as an effect of the textile and the
printing style. Viewed from afar, the people appear to be in a crowd. In the
quiet room in which the artwork is installed, the crowd seems to exude sound
that can disturb the quiet room.
See artwork at: https://iscp-nyc.org/event/salon-ambie-abano-and-claudia-
passeri
Instruction: Give your reaction and critique to Michelle Hollanes Luas
“Overcharged” Art work at
ACTIVITY 1
https://jennysserendipity.com/2015/12/11/michelle-hollanes-
lua-scavenger-artist-sculptor/

Pattern your work to Ma. Victoria Abaño's written reaction on

the previous page. You can critique her work using the
knowledge that you know based from previous modules in this
subject. Write it on your answer sheets
Rubrics:

Content and relevance to the topic 50% Writing style and application
of ideas 50%

Keep This in Mind!

Describing an artwork, especially if it is in the contemporary
style, requires knowledge of art: its scope, principles, and production and
understanding of the artist and the factors that affect art-making. Because
many contemporary artists react to issues in society, it also helps to know
about the community and environment in which the artist makes art. You
will learn how to describe contemporary art by discussing its subject
matter, material, art elements, and principles. Your knowledge of the
elements of art and principles of design is essential to description. You will
encounter more materials and mediums in contemporary art and the form
will have more variations.
Analysis

There are three elements that constitute description of contemporary

art: what the artwork is all about (subject matter), what materials/medium
were used in the process of art-making, and the art elements and principles.
At this point, we do not yet make any judgment.

Subject matter is what you see that is depicted in the artwork. It may be a
human form where the figures are engaged in an activity, or a combination of
texture and color. It may also be a figure made from found objects put togeth-
er or assembled into a coherent whole.

Material is what the artwork is made of. It can also be a combination of ob-
jects used in the artwork.

Art Elements and Principles refer to the physical qualities of the image. The
artist uses colors, lines, spaces, and other elements to make visual images.
These are arranged into an organized manner that observes unity, harmony,
rhythm, or other principles of design in a creative way.

To guide you in describing the contemporary artwork, there are some ques-
tions that you can answer about each element:

The Subject Matter:

 What is the main figure in the artwork?
 How is the main figure placed within the artistic frame?
 How do the other figures in the artwork relate to the main figure?

The Materials:
 What are the materials or objects used by the artists?
 Do these materials bring out the intended effect of the artist?
 If the artist chose other materials, do you think the same effect will be
achieved? Why and How?
The Art Elements and Principles:
 What are the dominant elements in the art work?
 How are these used in the artwork?
 How are the line, shape, or volume used within the artistic frame?
 What are the unifying features in the artistic composition?
 Are there any variations among the repeated elements?
 How does the art form appeal to the visual sense?

Let us apply the three elements that constitute descriptions on Micheal

Cacnio’s sculpture, Balloons
( http://www.michaelcacnio.com/
balloons.htm

The Subject Matter:

 What is the main figure in the art-
work?
 How is the main figure placed
within the artistic frame?
 How do the other figures in the art-
work relate to the main figure?

There are two figures in the sculpture, one higher (female) and the
other, lower (male). They are attached to each other in an unusual way, the
male holding on to the foot of the female who is being pulled upward by
balloons. Each figure has his or her one hand up in the air. The lower fig-
ure has his leg holding on to the staircase while the other leg is bent. The
female figure is in the same position.
The Materials:
 What are the materials or objects used by the artists?
 Do these materials bring out the intended effect of the artist?
 If the artist chose other materials, do you think the same effect will be
achieved? Why and How?

Cacnio used brass for this sculpture. He has mastery in the use of
this medium as shown in the figures' big and small parts. We note that
the torso is a mass that is welded smoothly. The fingers, although tiny,
are done with precision. The balloons are painted to add variety to the
dominant color, gold. The whole piece is standing on a rectangular
block which also bears the signature of the artist.

The Art Elements and Principles:

 What are the dominant elements in the art work?
 How are these used in the artwork?
 How are the line, shape, or volume used within the artistic frame?
 What are the unifying features in the artistic composition?
 Are there any variations among the repeated elements?
 How does the art form appeal to the visual sense?

Perfect balance is achieved in the sculpture. The weight of the two

figures is supported by the two legs of the ladder which is standing freely
and not attached to the wall. The only thing connecting the two figures to
the ladder is the lower figure's foot that is pointed and attached on one
step of the ladder. From the head of the higher figure down to her feet and
on to the torso of the lower figure is a straight line. Their arms on the air
provide balance to the whole figure. There is a repetition of form as seen in
the bended knees, arms on the air, and pointed feet. The head of the high-
er figure is bent while the head of the lower figure looks up, thus giving an
impression that he is flying with her and both will soon be up in the air as
they are pulled upward by the balloons. The figures are light despite the
use of solid brass. They do not appear to be heavy, in fact, they project a
floating effect. The sculpture shows grace, as the figures seem to be danc-
ing while being pulled upward.
ACTIVITY 2
Instruction: Give the best possible answer to the questions and write it
in your answer sheets.
1. What are the three elements that constitute description in contemporary
art?
2. Define each element by citing the scope of each one.
3. Do think brass is the best material for Cacnio’s sculpture? Explain your
answer.

Abstraction and Generalization

To be able to analyze and interpret contemporary art, we have to be

aware that there are multiple views of life, ideas, and reality that are ex-
pressed by the artists. Some artists believe that the person is affected by lan-
guage, social relations, and the unconscious. They think they are unable to
effect change. Another group of artists who call themselves “structuralists"
believe that a phenomenon can be explained in relation to other phenomena.

There are codes and signs that underlie these phenomena so the work of
the artist is to make these visible. They strive for objectivity (impartiality), co-
herence, and rigor supported by science and theories. They search for univer-
sal truth and believe in unchanging human nature.

In the old system of artistic patronage, the artists were dependent on

patrons, such as the church, wealthy individuals, the state, or powerful insti-
tutions. But this has ended and the contemporary artists feel free to experi-
ment and make highly personal art. They coined the slogan, “Art for the sake
of art" and refer to themselves as “avante-garde" (innovative). They explore the
use of new technology, movement and speed, as well as fabrication and con-
struction.
 It was the philosopher Immanuel Kant who laid the philosophical foun-
dation for artistic modernism that has influenced contemporary artists. Ac-
cording to Kant, the viewers of art should put themselves in a state of sen-
sory awareness, give up their personal interests, and not associate art with
anything when they respond to it. Therefore, they should consider art as in-
dependent of any purpose or utility other than aesthetic value.

Aesthetics is the branch of philosophy that deals with the nature,

beauty, and value of art objects and experiences. It involves appreciation,
understanding, and judging the value of art.

An aesthetic judgment should be neither personal nor relative. The

viewer should rise above time, place, and personal biases to reach a judg-
ment of art to which all reasonable people would agree. This is also called
"psychic distance."

Contrary to Kant's idea is the belief of Clive Bell and Roger Fry that in
viewing art, the artist's intent or any social influence that went into the
making of an artwork should be disregarded. Instead, the "significant form"
of the artwork is what should be exclusively attended to. In this case, only
the form is important and attention to other aspects of the artwork such as
its subject matter, narrative content, function to a culture, or references to
the ordinary world are considered distractions to art viewing. After World
War II, critic Harold Rosenberg declared, “A painting is not a picture of a
thing; it's the thing itself." Therefore, artists should "just paint" and not care
about anything else.
 To push it to the extreme, artist Andy Warhol claimed that everything is
art. Pop art, comic book imagery, and the other art styles that emerged
claimed to have important narrative content and demanded social and cultur-
al interpretations beyond Bell's and Fry's “form." In effect, the boundaries be-
tween "high art" and "low art" and between the elite and popular audience
were challenged.

Another point of view that has shaped contemporary art was Arthur
Danto’s proclamation that "art need not be beautiful; it need not have a picto-
rial subject; and need not deploy its forms in pictorial space." An example is
artist Pablo Picasso's cubist style where he dropped the three-dimensional
forms as well as "art, the beautiful" Picasso and his followers eliminated the
need to have an art object itself because the idea is more important than the
finished work.

Arnold Hauser, on the other hand, believes in the social history of art.
He insists that visual image is a window to a specific time and space, to cul-
ture, or to a social condition. An artwork can “infer into the milieu or social
environment in which the artist lives or from where the artwork comes. It can
also account in terms of its actual origin for the outlook on life" (Hauser 1959,
208).

Thus, the contemporary trends in art-making became pluralistic, open

to many variations in subject matter, content, form, and material. The artist
is free to "deconstruct" or “recontextualize" art. This is the art that takes into
account the uniqueness of the individual, creativity and artistic genius, and
unawareness of the art market.
 In postmodernism, artists believe that it is alright to copy masterpieces
and exhibit them as their own. The term used for this is "appropriating" or
“borrowing." For them, originality has to do with raising an issue rather than
with inventing a new image. Therefore, invention and uniqueness are no long-
er essential to making art. Artist Sherrie Levine's works exemplify these qual-
ities. To contrast modern with postmodern artists: modernists attempt to be
pure in their use of medium and believe in the possibility of universal com-
munication.

Postmodernists embrace a much wider array of art-making activities

and projects and tend to be eclectic regarding media and freely gather image-
ry, techniques, and inspiration from a wide variety of sources, much of it
from popular culture (Barrett 2000, 29-41). The works of both modern and
postmodern artists are classified under contemporary art. Given the complex
characteristics of art-making in the context of contemporary art, young view-
ers like you should be guided in doing analysis and interpretation of art.

Art Analysis and Interpretation

Art analysis starts with a description of an artwork. As you have learned
in describing, the viewer focuses on subject matter, materials, and art ele-
ments and principles of design. Analysis, on the other hand, requires an un-
derstanding of the content by separating the parts of the subject matter. This
can lead to grasping the artwork's organizational structure, nature, function,
and value.

The various elements that constitute analysis are:

 determination of subject matter through naming events or issues associ-
ated with the artwork;
 discussion of how the qualities of the artwork contribute to its appear-
ance, image, or function;
 description of the effect of the materials/medium used; and
 your reaction to the artwork.

You can also answer the following questions:

 How did the artist make the artwork?
 Is it a good artwork?
 Do you like/dislike the artwork? Why?
 How does it compare with other artworks in the same contemporary style?
 What is the value of the artwork to you, the youth, or society?
 Art interpretation is employed by the viewer after describing and
analyz- ing an artwork. Here, focus is on the expressive qualities, the
meaning, theme, mood, or idea communicated by the artist.
The various elements that constitute interpretation are:
 identifying the main idea and the overall meaning of the artwork;
 making an interpretive statement: "Can I express what I think the artwork
is about in one sentence?" and
 citing the evidence inside or outside the artwork that supports your
inter- pretation.
You can also answer the following questions:
 What is the artwork about?
 What is it intending to communicate?
 What statement is the artist putting forward through the artwork?
 Are there objects within the artistic frame that symbolize something?
What are these?
 What is the meaning of the artwork?

APPLICATION

In Harry Mark Gonzales' sculpture, Reflection the subject matter is

God embracing mankind. The dark color of wood evokes human feelings
and attracts the viewer to go closer to look at the expression on the faces of
God and the human beings engulfed in His embrace.
The expressions on the human figures' faces are of love and depend-
ence, devoid anger and hatred. Such depiction of divine love makes the
viewer want to be in God's embrace. It is a beautiful art piece that is per-
fect for display indoors, one that can stimulate conversation among guests.
It also exemplifies God's love, a value essential to humanity.
Harry Mark Gonzales is 26 years old and a native of Iloilo City. He focused on
sculpting social and environmental issues.

Artworks of the Ilonggo Sculptor Harry Mark Gonzales

ACTIVITY 3
Instruction: Give the best possible answer to the questions and write it in
your answer sheets.

1. Who are the modern philosophers, scholars, and artists whose theories
have influenced the perception of contemporary art?
2. What are the characteristics of modern art?
3. How does postmodern art differ from modern art?
4. How are “originality” and “art construction” viewed in contemporary art?
5. Choose one artistic theory or belief about art and art-making discussed
in this lesson and explain what it means.
 Reflect

Describing an artwork, especially if it is in the contemporary style, re-

quires knowledge of art: its scope, principles, and production and under-
standing of the artist and the factors that affect art- making. There are three
elements that constitute a description of contemporary art: what the artwork
is all about (subject matter), what materials/medium were used in the pro-
cess of art-making, and the art form.

Art analysis follows description of an artwork. It requires an under-

standing of the content by separating the parts of the subject matter. Art in-
terpretation is employed by the viewer after describing and analyzing an art-
work. Here, we focus on the expressive qualities, the meaning, theme, mood,
or idea communicated by the artist. These two are essential to art apprecia-
tion before making a judgment on whether the artwork is beautiful or not.

Reinforcement & Enrichment

ACTIVITY 4

Instruction: Choose an artwork in your town. Describe its subject, materi -

als and the process of art-making, the art elements and princi-
ples, and the artists style. You can attach the printed picture if
resources are available so that you can elaborate your ideas.
Write your answers in your answer sheet.
 Assess Your Learning

TEST 1-TRUE OR FALSE

Instruction: Write TRUE if the statement is correct and FALSE if the
statement is wrong. Write your answers in your answer sheet.
1. In modernists work like with Abañ o’s height has an overpowering impact
on the viewer.
2. Material refers to the physical qualities of the image.
3. In describing contemporary artwork in element like subject matter it is al-
ways a question of “ How are line, shape, or volume used within the artistic
frame?”
4. Subject matter is what you see that is depicted in the artwork.
5. Ma. Victoria Abañ o’s art works focuses mainly on the representation of
peoples initial reaction to a stimulus.
6. Aesthetics deals with the nature, beauty and value of art objects and expe-
riences.
7. Arnold Hauser proclamation was “Art need not to be beautiful, it need not
have a pictorial subject and need not to deploy its forms in pictorial space.”
8. Art interpretation is employed by the viewer after describing and analysing
an artwork.
9. In applying three elements in describing an art, the description “ He has
mastery in the use of this medium as shown in the figures’ big and small
parts” falls under Subject matter.
10. Harold Rosenberg declared that “ A painting is not a picture of a thing, it
is the thing itself”
TEST II
Instruction: Write the appropriate element with the use of guide questions in
describing a contemporary artwork. You may classify them as:
The subject Matter, The Materials, or The Elements and Prin
ciples. Write A if the questions falls under (The Subject Matter).
Write B If the guide questions falls under (The Materials) and C if
it falls under (The Elements and Principles)
1. What are the objects used by the artist?
2. How is the main figure placed within the artistic frame?
3. Do these objects bring out the intended effect of the artist?
4. What are the unifying features in the artistic composition?
5. What is the main figure in the artwork?
6. If the artist choose other objects, do you think the same effect will be
achieved?
7. How does the art form appeal to the visual sense?
8. Are there any variations among the repeated elements?
9. How do the other figures in the artwork relate to the main figure?
10. What are the dominant elements in the artwork?

References & Photo Credits

https://iscp-nyc.org/event/salon-ambie-abano-and-claudia-passeri
https://jennysserendipity.com/2015/12/11/michelle-hollanes-lua-
scavenger-artist-sculptor/
( http://www.michaelcacnio.com/balloons.htm
http://docplayer.net/184612087-Appreciating-contemporary-arts.html

Contemporary Philippine Arts from the Regions (Revised Edition) Copyright

2019 by Vibal Group, Inc. and Veronica Esposo Ramirez, PhD. Published and
printed by Vibal Group Inc.