Scribd Logo
Upload

Welcome to Scribd!

  • 15 views

    Contemporary Period NOTES

    Uploaded by

    Keziah Nicole Nielles
    Contemporary art in the Philippines emerged in reaction to the social and political realities of the 1970s under Ferdinand Marcos' martial law. Marcos sought to control art and culture to promote his vision of a pre-colonial lost civilization. This led many artists to use social realism to oppose the regime and expose the conditions of poverty and oppression. The end of martial law in 1986 after the People Power Revolution marked the beginning of the contemporary period in Philippine art, as free expression was restored.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Contemporary Period NOTES

    Uploaded by

    Keziah Nicole Nielles
    15 views18 pages
    Contemporary art in the Philippines emerged in reaction to the social and political realities of the 1970s under Ferdinand Marcos' martial law. Marcos sought to control art and culture to promote his vision of a pre-colonial lost civilization. This led many artists to use social realism to oppose the regime and expose the conditions of poverty and oppression. The end of martial law in 1986 after the People Power Revolution marked the beginning of the contemporary period in Philippine art, as free expression was restored.

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Contemporary art in the Philippines emerged in reaction to the social and political realities of the 1970s under Ferdinand Marcos' martial law. Marcos sought to control art and culture to promote his vision of a pre-colonial lost civilization. This led many artists to use social realism to oppose the regime and expose the conditions of poverty and oppression. The end of martial law in 1986 after the People Power Revolution marked the beginning of the contemporary period in Philippine art, as free expression was restored.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    15 views18 pages

    Contemporary Period NOTES

    Uploaded by

    Keziah Nicole Nielles
    Contemporary art in the Philippines emerged in reaction to the social and political realities of the 1970s under Ferdinand Marcos' martial law. Marcos sought to control art and culture to promote his vision of a pre-colonial lost civilization. This led many artists to use social realism to oppose the regime and expose the conditions of poverty and oppression. The end of martial law in 1986 after the People Power Revolution marked the beginning of the contemporary period in Philippine art, as free expression was restored.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 18

    CONTEMPORARY ART GENERALLY

    REFERS TO ART THAT IS BEING CREATED


    NOW.
    CHRONOLOGICAL VIEW

    ART AS RELATED TO CURRENT


    PERIOD IN ART HISTORY.
    ART PRODUCED IN ERA OR
    LIFETIME
    HISTORICAL USAGE
    SPECIFIC STAGE IN THE STORY OF THE
    EVOLUTION OF ART
    ESTABLISHES A TIMELINE IN WHICH ART
    BELONGS TO.
    Contemporary art in the
    Philippines
    Contemporary art emerge in the
    Philippines in reaction to social and
    cultural realities during 1970’s. This
    period was an era of repression
    and censorship of artistic
    expressions.
    President Ferdinand Marcos seized
    states power through the imposition
    of Martial Law in the early 1970’s. He
    sought to justify his one-man rule by
    anchoring his vision of cultural and
    artistic renewal to the images of the
    pre-colonial Philippine society .
    The Marcos state exercised control
    over the print media, radio, television,
    schools and the arts through various
    presidential decrees, and establish a
    network of cultural art institutions
    governed by his wife, Imelda
    UNDER THE HEALM OF FERDINAND AND IMELDA
    MARCOS BEGINNING 1965. MANY CULTURAL
    PROJECTS ENSUED AMID THE BACKDROP OF POVERTY
    AND VOLATILE SOCIAL CONDTIONS. AMIDST THE
    CLAIMS OF NATIONAL CHAOS OF EMERGENCY
    PROPORTIONS . MARTIAL LAW DECLARED ON
    SEPTEMBER 21, 1972.
    UNDER MARTIAL LAW , MARCOS ENVSIONED A LOST
    CIVILIZATION , ON ONE HAND , AND ASPIRATION TO
    MODERNIZATION AND DEVELOPMENT , ON THE OTHER .
    THIS VISION WAS PROPAGATED AND IMPLEMENTED
    THROUGH AN ART AND CULTURE PROGRAM THAT
    COMBINED THE FINE ARTS , ARCHITECTURE, INTERIOR
    DESIGN , TOURISM , CONVENTION CITY BUILDINGS
    (HOTELS, THEATERS,COLISEUM).
    AS INDEX OF PROGRESS, REFINEMENT, RADICAL
    EXPERIMENT , NATIONALITY IDENTITY AND LOVE FOR
    COUNTRY, ART WAS CIRCULATED THROUGH AN INTRICATE
    NETWORK OF INSTITUTIONS THAT BRAIDED THE THREADS OF
    THE PRE-MODERN, VERNACULAR. THE MODERN AND
    INTERNATIONAL . NATIONAL PRIDE WAS INSTILLED BY
    ENVOKING THE PRE-MODERN THROUGH MURALS , FOLK
    FESTIVAL, MUSEUMS DEVOTED TO COLLECTING AND
    DISPLAYING ETHNOLOGRAPHIC ARTIFACTS AND NATURAL
    SPECIMENS, AMONG THESE KEY SITES WAS THE NATIONAL
    MUSEM . WHICH WAS REVITALIZED THROUGH
    CONSTITUTIONAL AMENDMENTS.
    CCP (CULTURAL CENTER OF THE PHILIPPINES) AS THE
    SHRINE OF ARTS
    IN THIS CENTER THE PREMIER BUREAUCRATIC ENTITY
    THROUGH WHICH ART ACQUISITION, EXHIBITION MAKING,
    WORKSHOPS, GRANTS, AND AWARDS WERE
    IMPLEMENTED. IT WAS CREATED ON 25TH JUNE 1966
    THROUGH THE EXECUTIVE ORDER 30 AND INAUGURATED IN
    1969, THE YEAAR MARCOS WAS ELECTED TO HIS SECOND
    TERM AS PHILIPPINE PRESIDENT.
    LEANDRO LOCSIN , CHIEF ARCHITECT OF IMELDA MARCOS
    , DESIGNED THE MODENIST CANTILEVERED BUILDING
    DESCRIBED AS A CROSS BETWEEN THE VERNACULAR
    BAHAY KUBO AND ART BRUT MINIMALIST STRUCTURE .
    Philippine arts at this point was
    defined by a system which trained
    aspiring artist under the tutelage of
    more establish ones. Art also became
    a means to oppose the regime, and
    the political art of social realism
    flourished at this time.
    CONTEMPORARY ART BEGAN AT A TIME WHEN THE
    COUNTRY REGAIN LIBERTIES AFTER THE OUSTER OF THE
    MARCOS REGIME, AND FREE EXPRESSION WAS AGAIN
    GRANTED TO THE PEOPLE . THE PRODUCTION AND
    DESSIMINATION OF ART WAS NO LONGER UNDER THE
    PATRONAGE OF A SINGLE POLITICAL FIGURE LIKE IMELDA
    MARCOS AHOE DISPENSED HER CLASSCIST IDEAL ART AS
    THE TRUE , THE GOOD AND BEAUTIFUL VIA THE STATE
    APPARATUSES OF CULTURE.
    THE RETURN OF DEMOCRACY TO THE PHILIPPINES ALSO
    USHERED IN IMPROVEMENTS IN THE POLITICAL AND
    ECONOMIC ENVIRONMENT THROUGHOUT THE
    COUNTRY, WHICH ENCOURAGED ART PRODUCTION IN
    THE REGIONS
    Contemporary emerged due to three
    factors;
    1. The return of democracy under the
    Aquino government
    2. The improved economic and
    political environment in the country
    3. The advent of new technologies and
    free access to media.
    Social realism is an art movement
    which sought to express the real
    condition of Philippine society and
    used art to transform it.
    The end of Martial Law in the wake of
    the EDSA People Power Revolution in
    1986 brought the Philippines into the
    contemporary period, and art
    produced in this period is regarded as
    contemporary art.
    This painting delivers
    the message of how
    poverty, oppression,
    and injustice is
    evident in the country
    and how it is affecting
    working-class citizens.

    ITAK SA PUSO NI MANG


    JUAN BY: ANTIPAS
    DELOTAVO

    You might also like