Modern Art in the Philippines
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Klas Art Auction 202O Malaysian & Southeast Asian Art Sunday, 12 July 2O2o
PETALING JAYA, SUNDAY 12 JULY 2020 KLAS ART AUCTION 202O MALAYSIAN & SOUTHEAST ASIAN ART SUNDAY, 12 JULY 2O2O Auction Day Sunday, 12 July 2020 1.00 pm Registration & Brunch Starts 11.30 am Artworks Inspection From 11.30 am onwards KL Lifestyle Art Space 31, Jalan Utara 46200 Petaling Jaya Selangor, Malaysia Supported by Lot 34 Awang Damit Ahmad Iraga “Memori Kelabu” 2004 KL Lifestyle Art Space c/o Mediate Communications Sdn Bhd 31, Jalan Utara 46200 Petaling Jaya Selangor t: +6019 333 7668 e: [email protected] Contact Information General Enquiries Nik +6019 260 9668 [email protected] Bill +6013 361 2668 [email protected] Datuk Gary Thanasan [email protected] Payment and collection Shamila +6019 333 7668 [email protected] Lot 36 Tay Mo Leong, Dato Goddess of Mercy Temple - Georgetown Penang, 1970’s Full Preview Date: 26 June - 11 July 2020 Venue: KL Lifestyle Art Space 31, Jalan Utara 46200 Petaling Jaya Selangor, Malaysia Auction Day Date: Sunday, 12 July 2020 Venue: KL Lifestyle Art Space 31, Jalan Utara 46200 Petaling Jaya Selangor, Malaysia Time: 1.00 pm Lot 73 Syed Thajudeen Lightness of Being, 1999 Map to KL Lifestyle Art Space 5 Contents Auction Information 5 Glossary 9 Lot 1 - Lot 91 20 Auction Terms and Conditions 158 Lot 21 Chen Wen Hsi Squirrels Index of Artists 168 Lumi-May (OL).pdf 1 16/04/2020 2:54 AM SALE 40 2020 Catalogue.indd 8-9 26/06/2020 11:27 AM Glossary 6 TAJUDDIN ISMAIL, DATO 1 ISMAIL ABDUL LATIFF OASIS, 2012 PUNCAK MALAM.. -
St. Louis Review Center, Inc-Davao Tel. No. (082) 224-2515 Or 222-8732 1 Types of Perspective: One Point – a Representation of Distance by Means of Converging Lines
Music, Arts, Physical Education and Health (MAPEH) Focus: The Visual Arts Competencies: 1. Distinguish and analyze the different elements, principles, and mediums of different visual arts 2. Identify and classify the different themes of visual arts in the Philippines 3. Appreciate and be proud of Philippine visual art masterpiece as part of cultural enrichment PART I – CONTENT UPODATE I. Definition of terms: 1. Painting – refers to the application of color, pigment, or paint to a surface or support. These surfaces may include paper, wood, canvas, metal or walls. Paint is made of pigment mixed in a binder. 2. Sculpture – a three dimensional artwork which may be through different processes, such as carving, modeling, assembling or casting. It may be executed as a free- standing object, in relief, or in environments, and a variety of media may be used. 3. Architecture – the art and science of designing and constructing buildings (structures), and other environmental features. II. The elements of Visual Arts 1. Line – the most basic of all elements. A line is an identifiable path traced by a moving point. Lines vary in types. They can be horizontal, vertical, diagonal, straight or curved thick or thin. Different lines are used to signify, different feelings. For example: Horizontal line – suggests a feeling of rest, serenity, or perfect stability Vertical line – dominance, height, power Diagonal line – uncertainty, unrest, movement or action Curved line – flow, softness, flexibility, grace 2. Shape – shapes and forms are figures which define object s in space. A shape is a two- dimensional figure. Circles, triangles, and squares are common examples of shapes. -
Cesar Legaspi
Cesar Legaspi (1917-1994) National Artist, Visual Arts 1990 One of the Thirteen Moderns Cesar Legaspi, honored as a National Artist in Visual Arts in 1990, is considered the pioneer of neo-realism in the Philippines. Aside from the monochromatic works in his early years, he exploited the full potential of color in his paintings. A proponent of modern art in the country, Legaspi developed cubism in the Philippine context. He was also identified as one of the Thirteen Moderns, a group of modernists led by Victorio C. Edades whose works went against the conservative academic art of that period. Legaspi was born to Manuel Legaspi and Rosario Torrente on April 2, 1917 in Tondo, Manila. He took up painting for one term at the University of the Philippines School of Fine Arts before he decided to take commercial art courses instead. There he received medals for perspective and illustration projects. He earned his Certificate of Proficiency in 1936, after which he continued his education in art under Pablo Amorsolo. He went to Madrid in 1953 and pursued Art Studies under a scholarship at the Cultura Hispanic until 1954. He also went to Paris to study at the Academie Ranson for one month under Henri Goetz. Back in the Philippines, he had his first one-man show at the Luz Gallery in 1963. While this led to an active phase with his major pieces, he also worked as a magazine illustrator and artistic director at an advertising agency. He finally left the agency in 1968 to focus on his painting. -
UNIVERSITY of CALIFORNIA RIVERSIDE Naming
UNIVERSITY OF CALIFORNIA RIVERSIDE Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Neal D. Matherne June 2014 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. René T.A. Lysloff Dr. Sally Ann Ness Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Neal D. Matherne 2014 The Dissertation of Neal D. Matherne is approved: Committee Chairperson University of California, Riverside Acknowledgements This work is the result of four years spent in two countries (the U.S. and the Philippines). A small army of people believed in this project and I am eternally grateful. Thank you to my committee members: Rene Lysloff, Sally Ness, Jonathan Ritter, Christina Schwenkel. It is an honor to receive your expert commentary on my research. And to my mentor and chair, Deborah Wong: although we may see this dissertation as the end of a long journey together, I will forever benefit from your words and your example. You taught me that a scholar is not simply an expert, but a responsible citizen of the university, the community, the nation, and the world. I am truly grateful for your time, patience, and efforts during the application, research, and writing phases of this work. This dissertation would not have been possible without a year-long research grant (2011-2012) from the IIE Graduate Fellowship for International Study with funding from the Andrew W. Mellon Foundation. I was one of eighty fortunate scholars who received this fellowship after the Fulbright-Hays Doctoral Dissertation Research Abroad Program was cancelled by the U.S. -
Chinese Influences in Philippine Culture
Miclat FEATURE ARTICLE Tradition, Misconception, and Contribution: Chinese Influences in Philippine Culture Maningning C. Miclat ABSTRACT This paper discusses Chinese influence on Philippine arts and crafts, as shown in artifacts from the Sino-Philippine trade of pre-Hispanic times—the churches, religious icons, and paintings of the Spanish period— and in the contemporary art of the Chinese Filipinos. The Chinese traditional elements are given new meanings in a new environment, and it is these misconceptions and misinterpretations of the imported concepts that influence and enrich our culture. THE PRE-HISPANIC PAST The Sino-Philippine trade is believed to have begun in AD 982. The History of the Sung Dynasty or Sung Shi, published in 1343- 1374, confirmed that trade contact started during the 10th century. A 13th century Sung Mandarin official, Chau Ju-kua, wrote a geographical work entitled “A Description of Barbarous Peoples” or Chu Fan Chi, the first detailed account on Sino-Philippine trade. The 14th century account of Ma Tulin entitled “A General Investigation of Chinese Cultural Sources” or Wen Shiann Tung Kuo referred to the Philippines as Ma-i.1 The presence of trade is further proven by the Oriental ceramics from China, Vietnam, and Thailand that have been excavated from many places in the archipelago (Zaide: 1990). The Chinese came to the Philippines and traded with the natives peacefully, exchanging Chinese goods with hardwood, pearls, and turtle shells that were valued in China. Traditional Chinese motifs that symbolize imperial power are found in the trade ceramics found in the Philippines. These are the 100 Humanities Diliman (July-December 2000) 1:2, 100-8 Tradition, Misconception, and Contribution dragon and the phoenix; auspicious emblems of prosperity, long life, and wealth, such as fishes, pearls, and blossoms, like peonies; and the eight precious things or Pa Bao, namely, jewelry, coins, open lozenges with ribbons, solid lozenges with ribbons, musical stones, a pair of books, a pair of horns, and the Artemisia leaf. -
Download ART ARCHIVE 01
ART ARCHIVE 01 CONTENTS The Japan Foundation, Manila Introduction ART ARCHIVE 01 NEW TRAJECTORIES OF CONTEMPORARY VISUAL AND PERFORMING ARTS IN THE PHILIPPINES by Patricia Tumang Retracing Movement Redefining Contemporary Histories & Performativity Visual Art EXCAVATING SPACES AND HISTORIES: UNDERSTANDING THE CONTEMPORARY FILTERS: The Case of Shop 6 IN PHILIPPINE THEATER A View of Recent by Ringo Bunoan by Sir Anril Pineda Tiatco,PhD Philippine Contemporary Photography by Irwin Cruz VISUAL ARTS AND ACTIVISM IN THE PHILIPPINES: MAPPING OUT CONTEMPORARY DANCE Notes on a New Season of Discontent IN THE PHILIPPINES GLOBAL FILIPINO CONTEMPORARY ARTISTS by Lisa Ito-Tapang by Rina Angela Corpus by Jewel Chuaunsu BRIDGE OVER THE CURRENT: S A _ L A B A S / O U T S I D E R S: CONTEMPORARY VISUAL ART IN CEBU Artist-Run Festivals in the Philippines A Brief History of Why/When/Where We Do by Duffie Hufana Osental by Mayumi Hirano What We Do in Performance by Sipat Lawin Ensemble Contributor Biographies reFLECT & reGENERATE: A Community Conversation About Organizing Ourselves by Marika Constantino Directory of Philippine Art and Cultural Institutions ABOUT ART ARCHIVE 01 The Japan Foundation is the only institution dedicated to carrying out Japan’s comprehensive international cultural exchange programs throughout the world. With the objective of cultivating friendship and ties between Japan and the world through culture, language, and dialogue, the Japan Foundation creates global opportunities to foster friendship, trust, and mutual understanding. With a global network consisting of its Tokyo headquarters, the Kyoto office, two Japanese-language institutes, and 24 overseas offices in 23 countries, the Japan Foundation is active in three areas: Arts and Cultural Exchange, Japanese-Language Education, and Japanese Studies and Intellectual Exchange. -
A Short Tour of Metro Manila Exhibits
THE REPUBLIC Metro Manila 1-31 December 1976 5 BRIEFING □ Rosalinda G. Roxas A short tour of Metro Manila exhibits HE current festival of visual arts in 31, 1977. It consists of cultural treasures China’s cultural revolution. They result dolls, depicting the history, games, folk TMetropolitan Manila started last from the dawn of Egyptian civilization from surveys and preservation work car lore and folk dances of the Philippines September 27. Under the patronage of some 5,000 years ago to the products of ried out at many important sites and including the evolution of national cos the First Lady and Governor of Metro Islamic civilization. Sponsored by the ancient tombs. The artifacts present a tumes. The doll collection, first started politan Manila, Mrs. Imelda Romualdez Egyptian Antiquities Organization in bold outline of the development of his in 1953 as the Alto Doll Museum by Dr. Marcos, the festival’s start was held to Cairo, Egypt, the art treasures-100 tory and culture in ancient China. Aleli Guzman Quirino, was donated to coincide with the International Mone pieces covering 5,000 years, from pre There are magnificent stone and the Museum of Philippine Costumes. tary Fund-World Bank meetings. During historic 4,000 BC to the 18thcentuiy- bronze vessels and images dating from a most of last October, residents and were brought to the Philippines through thousand or fifteen hundred years before Bicentennial Exhibit visitors of Metro Manila were regaled the encouragement of the First Lady. Christ showing a highly developed cul with top-flight music, dance and drama. Mrs. -
Place of Region in the Contemporary Catalogue
Place of Region in the Contemporary PHILIPPINE CONTEMPORARY ART NETWORK Place of Region in the Contemporary University of the Philippines Vargas Museum 8 December 2017 - 27 January 2018 Philippine Contemporary Art Network Patrick D. Flores Director Tessa Maria Guazon Coordinator, Exhibition and Curatorial Analysis Renan Laru-an Coordinator, Public Engagement and Artistic Formation Roberto G. Paulino Coordinator, Knowledge Production and Circulation Publication Patrick D. Flores Editing Carlos Quijon, Jr. Publication Coordination Dino Brucelas Design A.g. De Mesa Photography ©2019 Philippine Contemporary Art Network 4 PCAN: An Intro 18 Place of Region in the Contemporary Patrick D. Flores EXHIBITIONS 28 Ayco, Imao, Bose, Junyee Roberto G. Paulino 42 Traversals/Trajectories: Expansive Localities Tessa Maria Guazon 56 An Ecological, The Obligatory Renan Laru-an 70 Raymundo Albano: Texts Patrick D. Flores ESSAYS 86 Ayco, Imao, Bose, Junyee: A Historiography Roberto G. Paulino 122 Forays into Regions: Between, Beyond, and Not Quite There Tessa Maria Guazon 134 An Impossible Profession Renan Laru-an 150 By Way of Region Patrick D. Flores 160 Artist Profiles 172 PCAN Members 178 Object List 192 Acknowledgment 4 The project initiates the Philippine Contemporary Art Network Philippine Contemporary Art Network Philippine Contemporary (PCAN), which is temporarily based at the University of the Philippines Vargas Museum in Diliman. In this preliminary task, it dwells on three activities: Knowledge Production and Circulation; Exhibition and Curatorial Analysis; Public Engagement and Artistic Formation. It endeavors to activate a network to coordinate a range of interventions in contemporary art in the Philippines and to cast a sharper profile for it on an inter-local and trans-regional scale. -
An Exceptional Inclusion: on Moma's Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian
An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art Kathleen Ditzig Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 1, Number 1, March 2017, pp. 39-80 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2017.0002 For additional information about this article https://muse.jhu.edu/article/646477 [ Access provided at 26 Sep 2021 16:50 GMT with no institutional affiliation ] An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art KATHLEEN DITZIG The exhibition of the First Southeast Asia Art Conference and Competition in Manila in 1957 was one of the first post-war events that sought to bring together the then contemporary art from the region.1 What is unusual and worthy of study about this exhibition is that not only was it the first survey exhibition of Southeast Asia, it also included the Museum of Modern Art (MoMA) International Program’s travelling exhibition, Recent American Prints in Color.2 Little is known of the history behind the First Southeast Asia Art Conference and Competition. There have been no studies which recount in detail how the conference and competition came to be, who it served and what it represented.3 Even less is known about how the MoMA exhibition came to be included in this unprecedented platform. However, its inclusion as a participant in the one-room survey exhibition complicates an indigenous art organisation’s attempt to present Southeast Asia as a cultural region within an exhibitionary frame. -
Important Philippine Art Saturday, 14 March 2020 Fine Jewelry & Timepieces Sunday, 15 March 2020
Important Philippine Art Saturday, 14 March 2020 Fine Jewelry & Timepieces Sunday, 15 March 2020 NEX Tower, 6786 Ayala Avenue, Makati City Important Philippine Art Saturday, 14 March 2020 Fine Jewelry & Timepieces Sunday, 15 March 2020 NEX Tower, 6786 Ayala Avenue, Makati City Prestige Real Estate Purveyor 3 Important Philippine Art | Fine Jewelry & Timepieces Message For the past ten years, we have had the honor of mounting Bannering the selection of antique furniture is a ten- sales of fine art and collectibles for a discerning audience seater kamagong and balayong dining table by the whose taste both diversified and transformed over time. In famed ilustrado, Máximo Viola. It is joined by a selection this exciting juncture in Salcedo Auctions’ history, we have showcasing the indigenous arts such as a large pukok or rice the privilege of featuring not only such a rich diversity of granary, a pair of dancing bul’ul, and a ceremonial shield artists and works, but also collections of individuals who are ornamented with a carved face of a man. redefining legacy - a value we all hold dearly. And so it gives me great pleasure to present the collection for this year’s A stunning selection of fine jewelry adorns the sale, ‘Important Philippine Art’ including ‘Important Philippine including a resplendent 18k white gold emerald fringe Furniture’ and ‘Important Philippine Tribal & Ethnographic necklace composed of five Zambian emeralds, a striking Art,’ and our signature ‘Fine Jewelry & Timepieces’ auction. Asscher-cut diamond crucifix, and an exquisite pair of 18k white gold drop earrings lined with Asscher We begin with a trio of oil on canvas works by cut diamonds. -
Victorio C. Edades
TUESDAY, JANUARY 17, 2012 Victorio C. Edades Victorio C. Edades (1895-1985) Philippine National Artist Father of Modern Philippine Art This special post is dedicated to a great Filipino master who spent his retirement years with his family in Davao City from 1967 until he breath his last on 1985 at age 89. He was a Philippine National Artist, and co-founder of the Mindanao Ethnoculture Foundation that focused on the indigenous culture and heritage of Mindanao. He was Victorio C. Edades, "Father of Modern Philippine Art." Born on December 13, 1895 in Barrio Bolosan in Dagupan, Pangasinan, Victorio Edades was the youngest of ten children, six of whom died from smallpox epidemic shortly before the turn of the 20th century. Edades' artistry began at an early age. He obtained his early education in barrio schools and went to a high school in Lingayen, Pangasinan. By seventh grade, his teachers were so impressed with his talent that he was fondly named, "apprentice teacher" in his art class. He was very good in class from the very beginning, having earned several awards in school debates and writing competitions. University of Washington in Seattle, USA In 1919, after high school, Edades left for the United States to study arts. He initially worked in salmon canneries in Alaska and eventually moved to Seattle where he took up Architecture at the University of Washington and earned a Master of Fine Arts in Painting. It was also during his stay in the U.S. that he married American Jean Garrott, with whom he had his only daughter, Joan. -
FRISSON: the Collected Criticism of Alice Guillermo
FRIS SON: The Collected Criticism of Alice Guillermo Reviewing Current Art | 23 The Social Form of Art | 4 Patrick D. Flores Abstract and/or Figurative: A Wrong Choice | 9 SON: Assessing Alice G. Guillermo a Corpus | 115 Annotating Alice: A Biography from Her Bibliography | 16 Roberto G. Paulino Rendering Culture Political | 161 Timeline | 237 Acknowledgment | 241 Biographies | 242 PCAN | 243 Broadening the Public Sphere of Art | 191 FRISSON The Social Form of Art by Patrick D. Flores The criticism of Alice Guillermo presents an instance in which the encounter of the work of art resists a series of possible alienations even as it profoundly acknowledges the integrity of distinct form. The critic in this situation attentively dwells on the material of this form so that she may be able to explicate the ecology and the sociality without which it cannot concretize. The work of art, therefore, becomes the work of the world, extensively and deeply conceived. Such present-ness is vital as the critic faces the work in the world and tries to ramify that world beyond what is before her. This is one alienation that is calibrated. The work of art transpiring in the world becomes the work of the critic who lets it matter in language, freights it and leavens it with presence so that human potential unerringly turns plastic, or better still, animate: Against the cold stone, tomblike and silent, are the living glances, supplicating, questioning, challenging, or speaking—the eyes quick with feeling or the movements of thought, the mouths delicately shaping speech, the expressive gestures, and the bodies in their postures determined by the conditions of work and social circumstance.