]

]Lesson 1
What is Art Appreciation
Introduction
Art is an indispensable part of our lives. It surrounds us in every aspect of our living, our
being. With this lesson, we will be dealing with the concept of art appreciation. The term art
appreciation is referred to the knowledge of the general and everlasting qualities that classify all
great art. It is seen used to refer to the exploration of visual art forms or the introduction of basic
principles of visual literacy.  It refers to analyzing the form of an artwork to general audiences to
enhance their enjoyment of such works of art. It may be analyzed without reference to subject
matter, symbolism or historical context. Art appreciation can be subjective depending on
personal preference to aesthetics and form, or it can be based on several elements and
principle of design and also depends on social and cultural acceptance. Most of the modern art
critics and art historians draw back from this term, underrating art appreciation as demanding
too little serious thought. Somehow, this should not be taken lightly as we are surrounded by art
as we live day to day and embody art in its truest form.
Topic Learning Outcomes:
At the end of this lesson, the student learner is expected to be able to achieve the following:
A. Understand the role of art in an attempt to fully realize man’s end
B. Clarify misconceptions of art

____________________________________________________________________________

Let Us Engage on This!

Reflect and respond to the comprehension questions based on the following quotation. Do
this in your worksheet:
“Art enables us to find ourselves and lose ourselves at the same time.” Thomas Merton
1. What is the message of the quotation?
2. Do you agree with the statement of Merton?
3. Cite a specific life experience where you found and lost yourself in art.

The term art encompasses a large variety of works, from paintings to sculptures,
architecture to design, and in modern times, digital art. Everyone can appreciate and marvel at
art, and being subjective in nature, different art forms appeal to different people. Art
appreciation, however, refers to the exploration and analysis of the art forms that we are
exposed to. It can be highly subjective, depending on an individual’s personal tastes and
preferences, or can be done on the basis of several grounds such as elements of design and
mastery displayed in the piece. Art appreciation also involves a deeper look into the setting and
historical implication and background of the piece, a study of its origins.

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 The word art comes from ancient Latin, ars which means “craft or specialized form of
skill, like carpentry or smithying or surgery.

Photo source:
Artfactory.com

Art is dynamic, with new trends and styles emerging at a fast pace. However, the final
attempt of the artist is that it speaks to the viewer on a personal level and can be interpreted in a
variety of ways. Art opens up the stream of subconscious and intends to personally touch every
person that comes across it.
Art appreciation is extremely relevant for multiple reasons. It is a good way to
understand the history behind the work, and the period from which the piece originated. Artists
often reflect the problems that they face, and the issues of the society in their work. By
analyzing and putting ourselves in the mind of the artist, we can better study how differently
society functioned then, compared to now. We can empathize and relate to the problems they
faced on a personal level.

Art is meant to stimulate thought and conversation between its viewers. By reflecting on
a piece of art, we delve into our own experiences and nostalgia, thus a piece of art means
something different to every person that comes across it. Art appreciation helps open up the
mindset of the people, by listening to different perspectives and views as well as interpretations
of the art, it encourages thoughtful conversation and the understanding that there is more than
one approach to everything.
For many people, art is meant to express something that we ourselves feel unable to
express or convey. Through its visual medium it evokes feelings of joy, sadness, anger and
pain. That is why art appreciation is so important in bringing that one final element to complete
the work, and that is our interpretation. Our perspective brings the artwork to life as it changes
for every person around it.
It is important to foster art appreciation and analysis, as it helps us value the art in how
it appeals to us and what it means to each person. It delves into the history and the story behind
the art, as well as a look into the lives of the artists. It enables one to critically analyze a work,
along the lines of design, mastery and techniques. Most importantly, however, art appreciation
stimulates though and analysis, provokes an individual to look past what meets the eye and
open our mind to the views of others.

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 Let Us Do This Practice!
A. Choose ONE artwork under each given category that you are familiar with. Criticize each
using the guide questions provided. Do this on your worksheet.
a. Movie
b. Novel
c. Poem
d. Music
e. Architectural Structure
f. A piece of clothing
Guide questions
a. What is it about? What is it for?
b. What is it made of?
c. What is its style?
d. Why does this art is ageless and timeless?
e. Why does this art involve experience?
f. How good is this art?
B. Using your mobile phone, take five pictures of different objects that you consider as an
example of art. Paste them on your worksheet.

References
Holly, M. & Moxey, K. (2002). Art history aesthetics visual studies. New Haven: Yale University
Press. ISBN 0300097891
Larry, S. (2003). The invention of art: A cultural history. Chicago: University of Chicago. ISBN
978-0-226-75342-3

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 Lesson 2
Assumption and Nature of Art:
Creativity, Imagination, and Expression
Introduction
In this unit, the assumptions and nature of art will be taken into consideration. For many
centuries, several distinguished people have varying take on what truly art mean in the concept
of society and living. As previously discussed on the initial module, art is something that is
perennially around us. Some people deny having to do with arts but it is indisputable that life
presents us with many forms of and opportunities for communication with arts. Knowing that this
is an intricate field, let us dig deep into this concept.
Topic Learning Outcomes:
At the end of this chapter, the student learner is expected to be able to achieve the
following:
a. Characterize the assumptions of art;
b. Engage better with personal experiences of and in art;
c. Characterize artistic expression based on personal experiences; and
d. Discuss the nature of art.

Let Us Engage on This!

Briefly answer this on your worksheet:

 In one of your encounters with art through museum visits, musical, and plays among
other, have you ever felt disconnected from an artwork? Was there a point in time
you did not understand what message the art was trying to convey? Explain why you
think you did not understand the art.

What is Art?

Art is something that is perennially

around us. Some people may deny
having to do with arts but it is
indisputable that life presents us with
many forms of and opportunities for
Photo source:
communion with the arts. Mindfulartstudi

The word ART comes from the

ancient Latin, ars which means a
“craft or specialized form of skill, like
carpentry or smithying or surgery”
(Collingwood, 1938).

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 Ars in Medieval Latin came to mean something different. It meant “any special form of
book- learning, such as grammar or logic, magic or astrology” (Collingwood, 1983).
The fine arts would come to mean “not delicate or highly skilled arts, but “beautiful arts”
(Collingwood, 1983).

“The humanities constitute one of the oldest and most important means of expression
developed by man” (Dudley et al., 1960). Human history has witnessed how man evolved not
just physically but also culturally, from cave painters to men of exquisite paintbrush users of the
present.

Assumptions of Art

 ART IS UNIVERSAL

Literature has provided key words of art.

lliad and the Odyssey are the two Greek Epics that one’s being taught in school. The
Sanskrit pieces Mahabharata and Ramanaya are also staples in this fields.

In every country and in every generation, there is always art. Often times, people feel
that what is considered artistic are only those which have been made long time ago. This
is a misconception. Age is not a factor in determining art. “An art is not good because it
is old, but old because it is good” (Dudley et al., 1960)

In the Philippines, the works of Jose Rizal and Francisco Balagtas are not being read
because they are old. Florante at Laura never fails to teach high school students the
beauty of love, one that is universal and pure. Ibong Adarna, another Filipino
masterpiece, has always captured the imagination of the young with its timeless lessons.

When we recite the Psalms, we feel in communion with King David as we feel one with
him in his conversation with God.

When we listen to a Kundiman or perform folk dances, we still enjoy the way our Filipino
ancestors while away their time in the past.
 ART IS NOT NATURE

In the Philippines, it is not entirely novel to

hear some consumers of local movies remark
that these movies produced locally are
unrealistic. They contend that local movies
work around certain formula to the detriment of Photo source:
Fildfilehost.com
substance and faithfulness to reality of movies.

Paul Cezanne, a French, painted a scene

from reality entitled Well and Grinding Wheel
in the Forest of the Chateau Noir. The said scene is inspired by real scene forest near
Cezanne’s native province. In comparing the painting and the original scene. Cezanne

5
 changed some patterns and details quite different from the original scene from the way
they were actually in the photograph. What he did is not nature. It is art.

 ART INVOLVES EXPERIENCE

Getting this far without a satisfactory definition of art can be quite weird for some. For
most people, art does not require a full definition. Art is just experience. By experience,
we mean the “actual doing of something”(Dudley et al., 1960) and it also affirmed that art
depends on experience, and if one is to know art, he must know it not as fact or
information but as an experience.

A work of an art then cannot be abstracted from actual doing. In order to know what an
artwork, we have to sense it, see and hear it.

An important aspect of experiencing art is its being highly personal, individual, and
subjective. In philosophical terms, perception of art is always a value judgment. It
depends on who the perceive is, his tastes, his biases, and what he has inside.

Let us Engage on This!

Ponder on the following:
“The role of art as a creative work is to depict the world in a completely different light and
perspective”- Jean Paul Sartre

Nature of Art
The essential nature of art is that it is largely non-symbolic form of communication and a primary
counterpoint to language. While almost any language requires considerable education in the
manner in which information is encoded into symbols it uses, art is communicative with very
little prior indoctrination. The capacity to communicate wordlessly makes it possible to play with
visual-emotional associations. Certain colors can incite given emotions, especially in connection
or contrast with other colors.
It takes an artist to make art. One may perceive beauty on a daily basis. However, not ever
beautiful thing that can be seen or experienced may truly be called a work art. Art is a product of
man’s creativity, imagination, and expression.
Not everyone can be an artist, but all are spectators of art. We are able to distinguish what is
fine and beautiful from what is not and is good quality and what is poor. This gives us a role in
the field of art appreciation. Each artwork beholds beauty in its own kind, the kind that the artist
sees and wants the viewers to perceive.
The Role of Creativity in Art Making
Creativity requires thinking outside the box. In art, creativity is what sets apart one artwork from
another.
When can we say that something is creative?

 When we have not seen anything like it

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  When it is out of the ordinary
 When it is not just a copy or imitation of someone’s work
 When there is originality
Nowadays, being creative can be quite challenging. Would you like to take such challenge?
Let Us Engage on This!
Ponder on the following:
“Imagination is more important than knowledge. For knowledge is limited to all we know and
understand, while imagination embraces the entire world, and all there ever will be to know
and understand.”- Albert Einstein

Art as a Product of Imagination, Imagination as a Product of Art

Imagination is not constrained by the walls of the norm, but goes beyond that. Through
imagination, one is able to craft something bold, something new, and something better in the
hopes of creating something that will stimulate change.
In artist’s mind sits a vast gallery of artworks. An artwork does not need to be a real thing, but
can be something that is imaginary. However, something imaginary does not necessarily mean
it cannot be called art. Artists use their imagination that gives birth to reality through creation.
In the same way that imagination produces art, art also inspires imagination.

Imagination Art

Let Us Engage on This!

Ponder on the following:
“What an artist does to an emotion is not to induce it, but express it. Through expression, he
is able to explore his own emotions and at the same time, create something beautiful out of
them.” – Robin George Collingwood

Art as Expression
Expressing emotions is different from describing emotions. This makes people’s art not a
reflection of what is outside or external to them, but a reflection of their inner selves.

 Visual Arts- creation that fall under this category are those that appeals to the sense of
sight and are mainly visual in nature. Artists produce visual arts driven by their desire to

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 reproduce things that they have seen in the way they perceived them.
There are also other artistic disciplines that also involve a visual aspect, such as
performance arts, theater, and applied arts. Some mediums of visual arts include
paintings, drawings, letterings, printing, sculpture, digital imaging.
 Film- film refers to the art of putting together successions of still images in order to
create an illusion of movement. Filmmaking focuses on its aesthetic, cultural, and social
value and is considered both an art and an industry.
The techniques in film-making process: a. motion picture camera, b. animation
techniques, c. computer generated imagery (CGI).
Filmmaking stimulates experience or creates one that is beyond the scope of our
imagination as it aims to deliver ideas, feelings, or beauty to its viewers.
 Performance Art-this is the live art and the artist’s medium is mainly the human body
which he or she uses to perform, but also employs other kinds of art such as visual art,
props, or sound.
The elements of performance arts: a. time, b. setting, c. performer’s body, d. relationship
between the audience and performer.
The fact that performance art is live makes it intangible, which means it cannot be
bought or traded as a commodity.
 Poetry Performance- poetry is an art form where the artist expresses his emotions
through words. These words are carefully selected to exhibit clarity and beauty and to
stimulate strong emotions of joy, anger, love, sorrow, among others. It uses a word’s
emotional, musical, and spatial values that go beyond its literal meaning to narrate,
emphasize argue, or convince.
These words combined with movements, tone, volume, and intensity of the delivery add
to the artistic value of the poem.
 Architecture- Art is the pursuit and creation of beautiful things while architecture is the
making of beautiful buildings. However, not all buildings are beautiful because some only
embody the functionality they need, but the structure, lines, forms, and colors are not
beautifully expressed.
Important elements of architecture: a. plan, b. construction, c. design. Buildings should
embody these three important elements if they wish to merit the title architecture.
 Dance- is the series of movements that follows the rhythm of the music accompaniment.
Dancing is a creative art form that allows people to freely express themselves.
Choreography may seem not to allow this, but in art expression, dancers are not
confined to set steps and the rules but are free to create and invent their own
movements as long as they deem them gracefully and beautifully.
 Literary Art- artists who practice literary art use words to express themselves and
communicate emotions to the readers. Simply becoming a writer does not make one a
literary artist. Literary art goes beyond the usual professional, academic, journalistic and
other technical forms of writing. It uses a unique style, not following a specific format or
norm. It may include both fiction and nonfiction such as novels, biographies, and poems.
 Theater- theater uses live performers to present accounts or imagery events before a
live audience. Theater art performance usually follows a script, though should not be
confused with literary arts. Like in film making, theater also considers several elements
such as acting, gestures, lighting, sound effects, musical score, scenery and props. Like
performance art, theater also is a live performance. Genres are the following: musical,
tragedy, comedy, and improvisation.

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  Applied Arts- applied arts is incorporating elements of style and design to everyday
items with the aim of increasing their aesthetic value. Artists in this field bring beauty,
charm, and comfort into many things that are useful in everyday life. This can be seen in
industrial design, interior design, fashion design, graphic design, etc.

Let Us Do This Practice!

A. Respond to the following questions comprehensively. Do this in your worksheet.
1. If you were an artist, what kind of artist would you be?
2. Why is art not nature?
3. What art field will you explore?
4. How can you utilize the arts to express yourself, your community, ad your relations to
others?
B. Using the table below, write down examples of the different art forms studied in the
module. Provide ways on how these art forms express and unmask creativity from
the artist. Do this in your worksheet.

Types of Art Example How Does this How Does This

Expression Express? Unmask the Artist’s
Creativity?
Visual Arts
Film
Performance Art
Poetry Performance
Architecture
Dance
Literary Art
Theater
Applied Arts

References
Arnold, D. & Iverson, M. (2003) Art and thought. London: Blackwell. ISBN 0631227156
Roberton, J. & McDaniel, C. (2005). Themes of contemporary art, visual art after 1950.
Gombrich, E.H. (1995). The story of art. London: Phaidon Press. ISBN 978-071482470

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 Lesson 3
Art History
____________________________________________________________
Introduction
For us to better understand a concept, person, or event, we should always look into its
history in order to fully comprehend its roots and underlying principles on how a particular
concept such as an art came to be the way it is to be.
In this lesson, you will be engaged on the various artistic movements throughout the
years and the reasons as to how these approaches evolved through time.

Topic Learning Outcomes:

At the end of this chapter, the student learner is expected to be able to achieve the following:
a. identify the different artistic movements in history;
b. create a timeline of the series of artistic movements; and
c. identify some day-to-day objects and the artistic movement behind it.

Let Us Engage on This!

Ponder on this:
“It’s on the strength of observation and reflection that one finds a way. So we must dig and
delve unceasingly.”- Calude Monet

Art history spans the entire history of humankind, from prehistoric times to the twenty-
first century. Whether you like to observe caveman paintings or Botticelli angels, you can find
visual arts that challenge your creative side and inspire you to find beauty in manmade forms.
In modern times, art history has emerged as a discipline that specializes in teaching
people how to evaluate and interpret works of art based on their own perspective. Art history
has frequently been criticized for its subjectivity because the definition of what is beautiful varies
from individual to individual. Learning to evaluate what you see by building on the art forms you
already know can develop your aesthetic understanding.
In keeping with Monet, consider how to observe as many works of art as possible. You
will develop a sense of your favorite styles and time periods, and you will be able to use the
vocabulary of art to discuss your appreciation of art with others. If you love Botticelli, you will be
able to recognize the theme he chooses for each painting and which symbol and figures he
uses most often during the Renaissance.
Combining exposure to art history with the desire to foster art appreciation in others
represents a happy medium. The art teacher or art historian can inspire you with a survey of the

10
many time periods in art history. For example, you can become a huge fan of the Renaissance
because, like the French, Dutch, Italian, and Spanish masters, you share the same desire to
reconcile humanism with human religion.
Art history requires you to study and describe what you see in terms of the design
elements of line, shape, color, value, and texture. Once you write a response to one work of art,
you can compare it to another work of art. An alternative is to make comparisons and contrasts
between artists and their artistic works with the mind’s eye. As you explore the fascinating world
of art, a beautiful collection of thousands of years of human experience, you will want to travel
farther from your home to see works of art in person.
Timeline of Art History

 Medieval Art (5th century- 1300)

This is characterized by the following: religious based, similarity in subjects, symbolism
rather than realism, storytelling, and sizes is bigger. The early Medieval period was
referred to as the “Dark Ages” as early as the 14th century Petrarch (1304-1374), Italian
poet and scholar of the fourteenth century, who found no redeeming qualities in
civilizations after the loss of the classical tradition in education and learning until the
renaissance. During this time, the church emerges as a dominant force central in
European unification. Middle Ages was not as dark as Petrarch would have us believe.
It was an exciting period of aesthetic exchange, the birth of modern institutions like
universities and cities.

Photo source:
Visual arts cork.com

 Renaissance (1300-1600)
This means rebirth or revival. The causes for the Renaissance movement was the
capture of Constantinople in 1453 by the Ottoman Turks, the revival of Graeco-Roman
learning encouraged rationalism. This led to the rise of a scientific temper and the spirit
of inquiry. This also fostered a spirit of exploration and discovery.

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 Baroque (1600-1730)
This is often though of as a period of artistic style, easily interpreted detail to produce
drama, tension, and grandeur in sculpture, painting, architecture, literature, dance,
theater, and music. This style began around 1600 in Rome, Italy, and spread to most of
Europe. This French word comes from the Portuguese word “barroco” which refers to a
rough or imperfect pearl.” The dramatic style of Baroque architecture and art is a means
of impressing visitors and expressing triumph, power, and control.

Photo source:
Lumenlearning.com

 Rococo (1720-1780)
This approach is derived from the word “rocaille” meaning stone or rubble. It is an artistic
movement which has affected many aspects of art. It is jocular, florid and graceful
approach to Baroque. Angles were softened, style was ornate, used light colors,
asymmetrical designs, curves and gold.

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 Neoclassicism (1750-1880)
This is the western movement in decorative and visual arts. It draws inspiration from the
classical art and culture of ancient Greece and Rome. It entails simplicity, classic detail,
cylindrical legs for tables and chairs, often gilded and painted, carpets designed to mirror
ceiling patterns.

Photo source:
The Art Story.com

 Impressionism (1860-1890)
This portray a depiction of modern life with their rejection of the established European
styles. They embraced new experimental ideas called ‘avant garde”

Photo source:
Parblo.com

 Post-impressionism (1886-1905)
This refers to an artistic style that followed Impressionism at the end of 1800s. It reected
the use of only one visual impression, freedom of color, and use of a lot of tiny dots
combined to form a picture called pointillism.

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 Photo source:
The Art Story.com

 Expressionism (1905-1930)
It was a movement in which objective reality was displaced by subjective emotions, with
the consequence that a long-lasting climate of self-expression spread. It conveys works
with more emotional force rather than realistic or natural images. The aim of this
movement was not to replicate an impression inferred by the surrounding world, but
rather to enforce the artist’s own emotional response to the world so as to distinguish
true meaning.

Photo source:
Artfactory.com

 Cubism (1907-1914)
this was the first abstract style of modern art developed by Georges Braque and Pablo
Picasso. Artists of this movement challenged the perspective aspect of art with the
intention of developing a new way of seeing. It is characterized by ambiguity of forms in
space, ambiguity of foreground/ background, objects that tended to dissolve leading to
abstraction, the use of simple forms of cubes, spheres, and cones.

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 Futurism (1910-1930)
This focuses on speed, technology, youth, violence, and modern objects. It is
distinguished as the combination of neo-impressionism and cubism. It indicates beauty
of modern life and aims to destroy older forms of culture.

Photo source:
The Art Story.com

 Art Deco (1909-1930)

This is a popular international movement which affected all “decorative arts” including
architecture, interior design, industrial design, as well as visual arts such as fashion,
painting, graphic arts, and film. The name came from the 1925 Exposition international
des arts decoratifs industriels et modern, held in Paris which celebrated living in the
modern world. The aim was to end the old conflict between art and industry, the old
snobbish distinction between artist and artisan, partly making artists adept at crafts, but
still more adapting design to the requirements of mass production.

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 Abstract Expressionism (1940s)
this is a term applied to a movement in American painting after the World War II in 1945.
It was first used in Germany in connection with Russian artist Wassily Kandinsky in
1919, but later became commonly associated with Post WWII American Art. Political
conflict in Europe caused by the WWII forced many European Artists to emigrate to the
US, bringing with them their own traditions and ideas. Artists were so disillusioned by the
horrors of the war that they choose to eschew traces of European tradition altogether.

Photo source:
Artistpoplab.com

 Contemporary Art (1946-present)

This simply means art made and produced by artists living today. It is not restricted to
individual experience but it is reflective of the world we live in. It has a world view and is
sensitive to changing times.

Photo source:
Artistpoplab.com

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 Let Us Do This Practice!
A. Create a timeline for the different artistic movements in history and identify three
famous artist per movement.
B. Take a picture of 10 examples of art in your house or in the community. Identify what
artistic movement it conveys.

References
What is the History of Art? (n.d.). Retrieved from: https://history.today.com
Elkins, J. (2006). Art history versus aesthetics. New York; Routledge
Chilvers, I. (2005) The oxford dictionary of art (3rd ed.). Oxford: Oxford University Press.
Greenberg, C. (1961). Art and Culture. Beacon Press.

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 Lesson 4
Forms of Art
____________________________________________________
Introduction

In this lesson, you will be able to discover how to express yourself using different forms
in art. The ability to compose an artwork needs competent skills and creativity, but for some, the
form of the work of art is usually disregarded. Let us take a closer look at its significance and
relevance in the work.
Topic Learning Outcomes:
At the end of this chapter, the student learner is expected to be able to achieve the following:
a. define what is form; and
b. create artistic representations of geometric and organic forms.

The term form can mean several different things in art.

Form is one of the seven elements of art and connotes a three- Photo source:
Urbanpro.com
dimensional object in space. A formal analysis of a work of art
describes how the elements and principles of artwork together
independent of their meaning and the feelings or thoughts they
may evoke in the viewer. Finally, form is also used to describe
the physical nature of the artwork, as in metal sculpture, an oil
painting, etc.

When used in tandem with the word art as in art form, it can also mean a medium of
artistic expression recognized as fine art or an unconventional medium done so well, adroitly, or
creatively as to elevate it to the level of fine art.

An Element of Art

Form is one of the seven elements of art which are the visual tools that an artist uses to
compose a work of art. In addition, to form, they include line, shape, value, color, texture, and
space. As an Element of Art, form connotes something that is three-dimensional and encloses
volume, having length, width, and height, versus shape, which is two-dimensional, or flat. A form
is a shape in three dimensions, and, like shapes, can be geometric or organic.
-Geometric forms are forms that are mathematical, precise, and can be named, as in the basic
geometric forms: sphere, cube, pyramid, cone, and cylinder. A circle becomes a sphere in three
dimensions, a square becomes a cube, a triangle becomes a pyramid or cone.

Geometric forms are most often found in architecture and the built environment, although you
can also find them in the spheres of planets and bubbles, and in the crystalline pattern of
snowflakes, for example.

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 Photo source:
arthistoryrules.wordpress.com

-Organic forms are those that are free-flowing, curvy, sinewy, and are not symmetrical or easily
measurable or named. They most often occur in nature, as in the shapes of flowers, branches,
leaves, puddles, clouds, animals, the human figure, etc., but can also be found in the bold and
fanciful buildings of the Spanish architect Antoni Gaudi (1852 to 1926) as well as in many
sculptures.

Photo source:
quora.com

-Form in Sculpture

Form is most closely tied to sculpture, since it is a three-dimensional art and has
traditionally consisted almost primarily of form, with color and texture being subordinate. Three-
dimensional forms can be seen from more than one side. Traditionally forms could be viewed
from all sides, called sculpture in-the-round, or in relief, those in which the sculpted elements
remain attached to a solid background, including bas-relief, haut-relief, and sunken-relief.

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Historically sculptures were made in the likeness of someone, to honor a hero or god.

The twentieth century broadened the meaning of sculpture, though, heralding the
concept of open and closed forms, and the meaning continues to expand today. Sculptures are
no longer only representational, static, stationery, forms with a solid opaque mass that has been
carved out of stone or modeled out of bronze. Sculpture today may be abstract, assembled from
different objects, kinetic, change with time, or made out of unconventional materials like light or
holograms, as in the work of renowned artist James Turrell.

Sculptures may be characterized in relative terms as closed or open forms. A closed-

form has a similar feeling to the traditional form of a solid opaque mass. Even if spaces exist
within the form, they are contained and confined. A closed-form has an inward-directed focus on
the form, itself, isolated from ambient space. An open form is transparent, revealing its
structure, and therefore has a more fluid and dynamic relationship with the ambient
space. Negative space is a major component and activating force of an open form sculpture.

Pablo Picasso (1881 to 1973), Alexander Calder (1898 to 1976), and Julio Gonzalez
(1876 to 1942) are some artists who created open form sculptures, made from wire and other
materials.

Henry Moore (1898 to 1986), the great English artist who, along with his contemporary,
Barbara Hepworth (1903 to 1975), were the two most important British sculptors in modern art,
both revolutionized sculpture by being the first to pierce the form of their biomorphic (bio=life,
morphic=form) sculptures. She did so in 1931, and he did in 1932, noting that “even space can
have form” and that “a hole can have as much shape meaning as a solid mass.” 

Form in Drawing and Painting

In drawing and painting, the illusion of three-dimensional form is conveyed through the
use of lighting and shadows, and the rendering of value and tone. Shape is defined by the outer
contour of an object, which is how we first perceive it and begin to make sense of it, but light,
value, and shadow help to give an object form and context in space so that we can fully identify
it.

For example, assuming a single light source on a sphere, the highlight is where the light
source hits directly; the mid-tone is the middle value on the sphere where the light does not hit
directly; the core shadow is the area on the sphere that the light does not hit at all and is the

20
darkest part of the sphere; the cast shadow is the area on surrounding surfaces that is blocked
from the light by the object; reflected highlight is light that is reflected back up onto the object
from the surrounding objects and surfaces. With these guidelines as to light and shading in
mind, any simple shape can be drawn or painted to create the illusion of a three-dimensional
form.

The greater the contrast in value, the more pronounced the three-dimensional form
becomes. Forms that are rendered with little variation in value appear flatter than those that are
rendered with greater variation and contrast.

Photo source:
alvalynlundgren.com

References
Different forms of art (December 11, 2010). Retrieved from https://buzzler.com
History of Drawing (October 23, 2009). Retrieved from https://debujos.para.pintar.com
Barnes, A.C. (1937). The art in Painting. 3rd ed. Harcout Brace & World, Inc.
Restany, P. (1974). Plastic in arts. Paris :New York

Let Us Do This Practice!

A. Create a drawing using geometrical and organic forms. Do this in your worksheet.

21
 Lesson 5
Elements and Perspective of Art
____________________________________________________
Introduction
Art is the product or process of deliberately arranging items in a way that influences and
affects one or more of the senses, emotions, and intellect. The elements of art are the building
block used by artists to create a work of art.
Topic Learning Outcomes:
At the end of this lesson, the student learner is expected to be able to achieve the following:
a. identifies the seven elements of art; and
b. evaluates an art work in terms of the different elements of art

Photo source:
Thoughtco.com

Let Us Engage on This!

Analyze and reflect on the image above. Write your observations on your worksheet.

The Seven Elements of Art

Line

 A mark that is made on a surface or outline. It is defined by a point moving in space.

Can be two or three dimensional, descriptive, implied, or abstract.
 There are five kinds of lines: horizontal, vertical, diagonal, curved, and zigzag

22
Shape

 It has always two dimensions, length as well as width. It is represented as an enclosed

area that is defined by color, value, space, texture and any form. When line form
together, they make flat shapes.
 There are categories of shapes: geometric shapes, also called as regular shapes;
organic shapes, also called as freeform shapes. These are shapes that seen to follow no
rules, figures that have a natural look and a flowing and curving appearance; positive
shapes, it is the solid forms in a design, occupy as positive space; negative shapes, it is
the space around the positive area; static shape, appears stable and resting; dynamic
shape, appears as if moving and active
Form

 Has always three dimensions; length, width, and height.

 There are types of form: cube, a regular solid of six equal square sides; cylinder, surface
traced by a straight line moving parallel to a fixed straight line and intersecting a fixes
planar closed curve; cone, a solid generated by rotating a right triangle about one of its
legs; sphere, a round solid figure, with every points on its surface equidistant from its
center.
Value

 Refers to the changes in the base color. The range of lightness and darkness within a
picture.
 Categories of value are the following: tint, adding white color paint to create lighter
values such as light blue or pink; shade, adding black paint to create dark values such
as dark blue or dark red; high-key, where all pictures is all light values; low-key, where
all pictures is all dark values; value contrast, where light values are placed next to dark
values to create contrast or strong differences; value scale, a scale that shows the
gradual changes in value from its lightest value to its darkest value.
Texture

 The quality of surface or the way any work of art is represented. Also refers to the way a
picture is made to look rough or smooth.
 Categories of texture: real texture, implied texture.
Color

 It has three characteristics: hue, value, and intensity.

 Hue means the shades (red, yellow, or pink). Value refers to the lightness or the
darkness. Intensity refers to the brightness or dullness of the artwork.
Space

 It is the creation of visual perspective; this gives an illusion of depth. It can also mean
the way an artist uses the area within the picture plane. Real space is three-dimensional.

23
 Let Us Do This Practice!

The image below is the Starry Night by Vincent van Gogh. Evaluate the image below by identifying
the elements of art that can be observed from it. Do this on your worksheet.

Photo source:
Britannica.com

References:
Esaak, S. (2020). How do you define shape? Retrieved from https://www.thoughco.com
Roxo, J. (2020). Elements of art: Interpreting meaning through the language of visual cues.
Retrieved from https://www.uproxy.library

24
 Lesson 6
Philosophical Importance of Art
____________________________________________________

Topic Learning Outcomes:

At the end of this lesson, the student learner is expected to be able to achieve the following:
a. Explain and discuss the basic philosophical perspectives of art
b. Apply concepts and theories on beauty and aesthetics in real life scenario
____________________________________________________________________________
Art as an Imitation

 In Plato’s The Republic, paints a picture of artists as imitators and arts as mere imitation.
 In his description of the ideal republic, Plato advises against the inclusion of art as a
subject in the curriculum and the banning of artists in the Republic.
 In Plato’s metaphysics or view of reality, the things in this world are only copies of the
original, the eternal, and the true entities that can only be found in the World of Forms.
 Plato was convinced that artists merely reinforce the belief in copies and discourage
men to reach for real entities in the World of Forms.
 Plato was deeply suspicious of arts and artists for two reasons: 1. They appeal to the
emotion rather to the rational faculty of men; 2. They imitate rather than lead one to
reality.
 Art then is to be banished, alongside the practitioners, so that the attitudes and actions
of the members of the Republic will not be corrupted by the influence of the arts.
 For Plato, art is dangerous because it provides a petty replacement for the real entities
that can only be attained through reason.
Art as a Representation

 Aristotle agreed with Plato that art is a form of imitation.

 However, Aristotle considered art as aid to philosophy in revealing the truth. The kind of
imitation that art does is not antithetical to the reaching of fundamental truths in the
world.
 Unlike Plato who thought that art is an imitation of another imitation, Aristotle conceived
o art as representing possible versions of reality.
 For Aristotle, all kinds of art do not aim to represent reality as it is, it endeavors to
provide a version of what might be or the myriad of possibilities of reality.
 In Aristotelian worldview, art serves two particular purposes: art allows for the
experience of pleasure (horrible experience can be made an object of humor); art also
has an ability to be instructive and teach its audience things about life (cognitive)

25
Art as a Disinterested Judgement

 Immanuel Kant, in his Critique of Judgement, considered the judgement of beauty, the
cornerstone of art, as something that can be universal despite its subjectivity.
 Kant recognized that judgement of beauty is subjective. However, even subjective
judgements are based on some universal criterion for the said judgement.
 How can judgement of beauty be considered objective or universal? Consider the two
examples: I like this painting (subjective); this painting is beautiful (objective). The first is
clearly a judgement of taste, while the second is an aesthetic judgement.
 Making aesthetic judgement requires us to be disinterested. In other words, we should
try to go beyond our individual tastes and preferences so that we can appreciate art from
a universal point of view.
Art as a Communication of Emotion

 According to Leo Tolstoy, art plays a huge role in communication to its audience’s
emotions that artists previously experienced. In the same way that language
communicates information to other people, art communicates emotions.
 As a purveyor of man’s innermost feelings and thoughts, art is given a unique
opportunity to serve as a mechanism for social unity.
 Art is central to man’s existence because it makes accessible feelings and emotions of
people from the past and the present.
Let us do this practice!
What art form has changed something in your life? Why? Account the experience? Answer
this on your worksheet.

References:
Esaak, S. (2020). How do you define shape? Retrieved from https://www.thoughco.com
Roxo, J. (2020). Elements of art: Interpreting meaning through the language of visual cues.
Retrieved from https://www.uproxy.library

26
 Lesson 7
Content in Art
____________________________________________________
Introduction
Looking into the what is being depicted by the artwork might be helpful in deriving the
meaning of a particular image. The subject of an artwork has been there as a basic component
of artwork. Let us try to dig deeper into this and other related concepts.

Topic Learning Outcomes:

At the end of this lesson, the student learner is able to achieve the following:

a. differentiate representational art and non-representational art

b. discuss the difference between an artwork’s subject and its content
c. identify the subject matter and specific example in art
d. enumerate the sources of subjects of some artworks
____________________________________________________________________________

Let Us Engage on This!

Photo source:
Look into the image. Analyze this by createquity.com
responding to the following questions:
1. What is the artwork all about?
2. Why do you think this was
created?
3. How was the artwork put together
in a singular concept?

In viewing art, there are clues that mediate between the artwork and the viewer, allowing
the viewer to easily comprehend what he is seeing.
These clues are the three basic components:

 Subject- the visual focus or the image that may be extracted from examining the
artwork; the “what.”
 Content- the meaning that is communicated by the artist or the artwork; the “why.”

27
  Form- the development and configuration of the art work—how the elements and the
medium or material are put together; the “how.”
Types of Subject

 Representational Art- these types of art have subject that refer to objects or events
occurring in the real world. Also termed as “figurative art” because the figures depicted
are easy to make out and decipher.
 Non-representational Art- art forms that do not make a reference to the real world,
whether it is a person, place, thing, or even a particular event. It is stripped down to
visual elements, such as shapes, lines, and colors that are employed to translate a
particular feeling, emotion, and even concept.
 Abstract Art-there is no clear-cut division between non-representational and abstract art,
rather they exist in a spectrum.
Sources of Subject

 Nature
 History
 Greek and Roman Mythology
 Judeo-Christian tradition
 Sacred oriental texts
 Other works of art
Kinds of Subject

 History
 Still life
 Animals
 Figures
 Nature
 Landscape
 Seascape
 Cityscape
 Mythology
 Myth
 Dreams
 Fantasies
Content in Art
This refers to the meaning or message that is expressed or communicated by the artwork. In
understanding the content of art, it is important to note that there are various levels of meaning:

 Factual meaning- the most rudimentary level of meaning for it may be extracted from
the identifiable or recognizable forms in the artwork and the understanding how these
elements relate to one another.
 Conventional meaning- pertains to the acknowledged interpretation of the artwork using
motifs, signs, and symbols and other cyphers as bases of its meaning. These

28
 conventions are established through time, strengthened by recurrent use and wide
acceptance by its viewers or audience and scholars who study them.
 Subjective meaning- when subjectivities are consulted, a variety of meaning may arise
when a particular work of art is read. These meanings stem from the viewer’s or
audiences’ circumstances that come into play when engaging with art (what we know,
learned, experienced, and values we stand for.) Meaning may not be singular, rather,
multiple and varied.

Let Us Do This Practice!

Watch the Boticellis Venus: making of an Icon on BBC. Write a reflection paper on the said
documentary. Do this in your worksheet.

References:
Barenscott, D. (2019). The Elements of Art: Form, Content, and Context. Retrieved from
https://www.avant-guardian-musings.com
The Content of Art (n.d.) Retrieved from https://www.trasnpositions.co.uk/the-content-of-art/

29
 Lesson 8
Artists and Artisans
____________________________________________________
Introduction
The words artist and artisan are very confusing for most people. Some even
interchangeably use them. in this lesson, you will be informed of the distinctions between the
two. Let us find out.
Topic Learning Outcomes:
At the end of this lesson, the student learner is expected to be able to achieve the following:
a. differentiates the concept of artist and artisan
b. creates a poster appreciating the works of the artists and artisans in the community.

Photo source:
nowbali.co.id.com

Let Us Engage on This!

Look at the image above. What do you think is the person doing in the picture? Do you think
the art that he is making is for functional use or for visual purpose only? Write your insights
on your worksheet.

Artisan
An artisan (from French: artisan, Italian: artigiano) is a skilled craft worker who makes or
creates things by hand that may be functional or strictly decorative, for example furniture,
decorative arts, sculptures, clothing, jewelry, food items, household items and tools or even
mechanisms such as the handmade clockwork movement of a watchmaker. Artisans practice a
craft and may through experience and aptitude reach the expressive levels of an artist.

The adjective "artisanal" is sometimes used in describing hand-processing in what is

30
usually viewed as an industrial process, such as in the phrase artisanal mining. Thus, "artisanal"
is sometimes used in marketing and advertising as a buzz word to describe or imply some
relation with the crafting of handmade food products, such as bread, beverages or cheese.
Many of these have traditionally been handmade, rural or pastoral goods but are also now
commonly made on a larger scale with automated mechanization in factories and other
industrial areas.

Artisans were the dominant producers of consumer products before the Industrial
Revolution. In ancient Greece, artisans were drawn to agoras and often built workshops nearby.

Artist
An artist is a person engaged in an activity related to creating art, practicing the arts, or
demonstrating an art. The common usage in both everyday speech and academic discourse is
a practitioner in the visual arts only. The term is often used in the entertainment business,
especially in a business context, for musicians and other performers (less often for actors).
"Artiste" (the French for artist) is a variant used in English only in this context; this use is
becoming rare. Use of the term to describe writers, for example, is valid, but less common, and
mostly restricted to contexts like criticism.
Awards and citations
Two major awards in the Philippines:

 Orden ng Pambansang Alagad ng Sining (Order of the National Artists) –given to

Filipino individuals who have made significant contribution to the development of the
Philippine arts. The order is jointly administrated by the National Commission for Culture
and the Arts (NCCA) and the Cultural Center of the Philippines (CPP) and conferred by
the President of the Philippines upon the recommendation by both institutions (NCAA,
2015).
 Gawad sa Manlilikha ng Bayan-GAMABA (National Living Treasures Awards)
The National Living Treasures Awards is conferred to a person or group of artists
recognized by the Government of the Philippines for their contributions to the country’s
intangible cultural heritage. The recipient of the award is a Filipino citizen or groups of
Filipino citizens engaged in any traditional art uniquely Filipino, whose distinctive skills
have reached such a high level of technical and artistic excellence.

31
 Let Us Do This Practice!
Do the following tasks on your worksheet:
C. What do you think is the role of an artist in the 21st century?
D. How relevant still are the awards Order of National Artist and GAMABA, not only in
the art world, but also to the Filipino society as a whole?
E. Identify and select one artist that you admire the most. Share your insights why you
have high regard for this person.
F. Create a poster for the celebration and upliftment of artists and artisans in the
country. You can do this in a short bond paper and attach it to your worksheet.

References
Difference between an artist and artisan. ( May 30, 2020). Retrieved from
https://study.com/articles/diffrence_between_artists_artisan.html.
Nawaz, S. (2019). Art of Artisan. Retrieved from http://www.artnowpakistan.com/art-of-artisan/

32
 Lesson 9
Various Planes in Art
Introduction:
Do you see artworks in image or painting form as something that comes into life? Something
that has an accurate dimension such as length, width, and dept? If yes, then it is all thanks to
planes.
In this lesson, you will then be informed with the types and various forms of planes in the world
of art
Topic Learning Outcomes:
At the end of this lesson, the student learner is expected to able to achieve the following:
a. define plane and its types in art making; and
b. create an artwork using plane with the rule of balance and the rule of compensation.

Let Us Engage on This!

Photo source:
Refer to the image on the right. livejapan.com

It is full of planes of varied shapes

Do you know what it is? Can you make

one out of a colored paper?
Paste or attach it in your worksheet.

There are different visual elements, this includes the plane, point, line, texture, and color. What
is then a plane?

 A plane is a two-dimension surface, length and width, and it has a position and a
direction in space.

Photo source:
artistnetwork.com

33
We have two types of planes:

 Geometric: they can transmit strong visual sensations of order and stability.
 Organic: they give a visual sensation of more dynamism that geometric forms.
Planes as Supports

 The surface we draw on is a support.

 Composition is the act of combining parts or elements to form a whole.

How plane organize the space?

 The rule of balance- dictates that the most important elements should be in the center of
the support and the least important ones should go evenly to the left or right of the
composition.
 The rule of compensation- tells us that, in order to balance a composition, the bigger as
element is, the closer it should be to the center of an artwork.
Photo source:
How we can make use of planes in art: artwithmark.woodpress.com

Sketch: a simple or hastily executed drawing or painting, especially a

preliminary one, giving the essential features without the details.
Abstract: pertaining to the formal aspect of art. Emphasizing lines,
colors, generalized or geometrical forms, etc., especially with
reference to their relationship to one another.
Collage: is the from the French “coller” which means to glue, is a work
of formal art, made from as assemblage of different forms, thus
creating a new whole.

Let Us Do This Practice!

In your worksheet, create an artwork following the rule of balance and the rule of
compensation. Make your artwork as creative as possible.

References:
Seeing planes in art. (2019). Retrieved from https://brightlightfineart.com/seeing-planes-in-art/
Lundgren, A.. (2019). Using Visual lanes in Design and Art. Retrieved from
https://alvalyn.com/visual-planes-design-art/
Picture planes… What they are and why are they so important (and how to use them). (n.d.)
Retrieved from https://artwithmark.wordpress.com/2012/11/03/

34
 Lesson 10
Genres of Music Industry
__________________________________________________

Introduction
Are you fond of listening to music? What sort of songs do you usually listen to? What mood and
vibe do you get when you listen to these sorts of music? Find out the different music genres
there is around the world.

Topic Learning Outcomes:

At the end of this lesson, you should be able to:

1. identify which genre of music a song belongs to; and

2. give examples of songs for each genre.

Let Us Engage on This!

Do you have a Spotify playlist? Or a playlist on your phone of the songs that you usually
listen to?
List down the top 20 songs on your playlist. Do this in your worksheet and find out later
what type of songs you are fond of.

A music genre is a conventional category that identifies some pieces of music as

belonging to a shared tradition or set of conventions. Music can be divided into different genres
in many different ways. The artistic nature of music means that these classifications are often
subjective and controversial, and some genres may overlap.

Below are some of the genres in the music industry:

1. Electronic Dance Music

Generally referred as EDM, this form of music is produced by DJs who add dozens of
tones to a piece to create unique music. You can hear them in clubs or even live, depending
upon your accessibility for the same. In the early twenties, electronic dance music was known in
the form of Jamaican dub music, the electronic music of Kraftwerk, the disco music of Giorgio
Moroder, the Yellow Magic Orchestra and many more.

35
2. Rock Music

Originated as “Rock & Roll” in the United States, Rock music has been rocking the world
since the 1950s. It is a form of music that started actually around string instruments, but now
uses other modern instruments too making it a little difficult to give it an accurate definition. Its
loud and strong beats make it popular among the youths. Some of the rock stars who have
popularized the culture include Little Richard, Bill Haley and Chuck Berry while rock bands like
Pink Floyd, The Doors, Metallica, Nirvana and Megadeth are the modern bands who have taken
the culture by storm.

3. Jazz

Identified with swing and blue notes, Jazz has its roots both in the West African and
European culture. It is said that Jazz is “One of America’s original art forms” and boasts a unique
combination of creativity, coactions and interactivity. Originating in the late 19th to early 20th
century, Jazz has also played an important role in introducing the world to a number of women
performers like Ella Fitzgerald, Betty Carter, Abbey Lincoln and Ethel Waters.

36
4. Dubstep

The use of instruments attracting music lovers for its bass and rhythm, this falls in the
electronic music genre. People consider it to be a darker form of music, but since its birth in the
late 1990s, this genre has successfully made its place in the industry.

5. Rhythm and Blues

Vocalists like Rihanna, Mariah Carey, Beyoncé, Usher and the legendary Michael
Jackson have all made it huge in the music industry with their love for this form of music.
Originated in the 1940s, this African-American music is a combination of hip hop, funk, dance,
pop and soul focusing on themes like relationships, sex and freedom.

6. Techno

You may have listened to a number of techno music while clubbing, but it is Detroit
techno that is considered to be the foundation of this form of music. Unlike the days of its
emergence, the use of technology today has greatly enhanced the quality of techno style music
and popularizing it among people day by day.

37
7. Country Music

Another popular genre of American music which originated in the 1920s, Country music
has its roots from American folk and western music. It is formed using simple forms of
instruments ranging from electric and steel guitars to drums and mandolin or mouth organ. Some
very popular country music singers include Shania Twain, Johnny Cash Taylor Swift and Kenny
Rogers.

8. Electro

A perfect blend of hip hop and electronic music, electro or electro-funk uses drum
machine, vocoder and talkbox helping it to distinguish itself from another similar form of music,
Disco. Notable artists who have been into this form of music include Arthur Baker, Freeez, Man
Parrish and Midnight Star.

38
9. Indie Rock

Falling in the genre of alternative rock music, Indie Rock originated in the 1980s and has
gradually changed the music industry. After a decade, it also gave birth to a couple of sun-genres
in related styles such as math rock, emo, noise pop, post rock and lo-fi.

10. Pop Music

“Pop” is a term derived from “Popular” and thus Pop Music is known to be a genre of
popular music. With its roots in the rock & roll style, this form can include any form of music
ranging from urban and dance to rock, country and Latin. Instruments highly used are electric
guitars, synthesizer drums as well as bass and one can listen to this form of music by listening to
songs by Britney Spears, Madonna, Beyonce Lady Gaga and of course the “King of Pop”,
Michael Jackson.

39
11. Rap

Rap describes a style of vocal delivery. However, it can be rightly regarded as a musical
genre due to its massive popularity. Developing alongside hip-hop in the United States, rap
evolved from MCs toasting and deejaying in Jamaican dancehall music.

It has grown to incorporate increasingly complex rhyme schemes and has been appreciated in
the same regard as poetry.

12. Reggae

Originating in Jamaica in the 1960s and taking the world by storm through the work
of Bob Marley, reggae is a fusion of traditional Jamaican folk music with jazz and R&B.

Offbeat rhythms and staccato chords are common musical themes, and Reggae is
closely linked to Rastafarianism and Afrocentric religion.

40
What are the main genres of music?

The most recognized genres are pop music, which is simply because of the mass media
proliferation. Pop music can take cues from any other genre. Over the years, lots of different
styles have become pop music. Everything from R&B, soul, funk, rock and folk has been
popularized and played on mainstream radio.

What is the number one genre of music?

While hip-hop and rap music have taken over the charts recently, Pop music is still the
‘most heard’ of all music genres. What’s incredibly interesting about music is that both
geography and culture play a huge role in the popularity of music. Your own home town
probably has its own music scene where one type of music is more prevalent.

How many different genres of music are there?

There are literally thousands of different genres. Music in the modern age is incredibly
diverse and every genre borrows something from another, then evolves. Take heavy-metal for
instance. Within it, there are tons of offshoots; power metal, nu-metal, folk metal, death metal,
thrash metal, Christian metal, glam metal – to name a few.

Let Us Do This Practice!

A. Identify the music genre of the following songs. Do this in your worksheet.

1. Through The Years – Kenny Rogers

2. When I fall In Love – Nat King Cole
3. I’m not afraid – Eminem
4. All I Want – Joni Mitchell
5. Blinding Lights – The Weeknd
6. That’s The Way Love Goes – Janet Jackson
7. Closer – The Chainsmokers
8. Roses – The Chainsmokers
9. My Way – Frank Sinatra
10. Fantasy – Mariah Carey

41
 B. Complete the table below by providing 2 songs that you are familiar with for
each genre of music. Do this in your worksheet.

Genres of Music Songs

1. EDM

2. Rock

3. Jazz

4. Dubstep

5. R & B

6. Techno

7. Country

8. Electro

9. Indie Rock

10. Pop

11. Rap

12. Reggae

References:
Top 10 genres of music industry, (May 23, 2017), Medium, Retrieved from
https://medium.com/giglue/top-10-genres-of-music-industry-7f19cdb177cb

Hayes, J., Genres of music | defining different types of genre, (August 8, 2019), OpenMicUk,
Retrieved from https://www.openmicuk.co.uk/advice/types-genres-of-music/

42
 Lesson 11
Soul-Making in Art
__________________________________________________
Introduction:
When you see an artwork, do you try to evaluate its content and find meaning behind those
images. Do you tap your emotions in understanding the context of its message?
Find out how we derive meaning out of these creative creations.

Topic Learning Outcomes:

By the end of this lesson, you should be able to:

a. explain how meanings can be derived from art; and

b. decipher the meaning behind an artwork.
________________________________________________________________________

Photo source:
Edvardmunch.org

In order for the human to make sense of language and derive meanings from words,
semantic, and grammatical rules are important elements to be considered. The same rule is
applied when deriving meanings from artworks. This process of deriving meaning/s from
different artworks is called “soul-making”.

In the field of art, in order for people to make sense of the work, it requires
understanding of the visual elements where art was grounded on, especially the principles of
design. It is important to note that the audience of the said artwork must have a certain level of
awareness of the style, form, and the content of the artwork.

 Form - one of the seven elements of art which are the visual tools that an artist uses to
compose a work of art. In addition, to form, they include line, shape, value, color, texture,
and space. As an Element of Art, form connotes something that is three-dimensional and
encloses volume, having length, width, and height, versus shape, which is two-

43
 dimensional, or flat. A form is a shape in three dimensions, and, like shapes, can be
geometric or organic.

1. Geometric forms are forms that are mathematical, precise, and can be named, as in the
basic geometric forms: sphere, cube, pyramid, cone, and cylinder. A circle becomes a sphere in
three dimensions, a square becomes a cube, a triangle becomes a pyramid or cone. Geometric
forms are most often found in architecture and the built environment, although you can also find
them in the spheres of planets and bubbles, and in the crystalline pattern of snowflakes, for
example.

2. Organic forms are those that are free-flowing, curvy, sinewy, and are not symmetrical or
easily measurable or named. They most often occur in nature, as in the shapes of flowers,
branches, leaves, puddles, clouds, animals, the human figure, etc., but can also be found in the
bold and fanciful buildings of the Spanish architect Antoni Gaudi (1852 to 1926) as well as in
many sculptures.

 Content - refers to what is being depicted and might be helpful in deriving a basic
meaning. Sometimes content is straightforward; in other cases, however, it is less
obvious and requires additional information. Content appears in the visual arts in several
forms, all of which may be figurative (realistic) or abstract (distorted). Among them are
portraits, landscapes, still-lifes, genre art, and narrative art.

 Style - the manner in which the artist portrays his or her subject matter and how the
artist expresses his or her vision. Style is determined by the characteristics that describe
the artwork, such as the way the artist employs form, color, and composition, to name
just a few. Another important factor in determining the style of an artwork is to examine
the way the artist handles the medium, taking into account the method or technique that
the artist uses. An additional aspect of art styles is the philosophy or driving force behind
the artwork. All of these stylistic elements are defined by the choices artists make as
they compose their artwork.

Let Us Do This Practice!

A. Answer the essay question which corresponds to five (5) points.

1. What are the important things the viewer or audience must consider to derive
meaning from the artwork? Respond to this on your worksheet.

B. Examine each artwork below and understand what it wants to depict or mean. Write
your answer on your worksheet. Each item is equivalent to five (5) points.

44
 Photo source:
npr.org

Photo source:
theguardian.com

45
 Photo source:
Pinterest.com

Photo source:
voicesofyouth.org

References:

Olan, L., Culture and the arts, (n.d.) Course Hero, Retrieved from
https://www.coursehero.com/file/33625363/Culture-and-the-Artspptx/

Quintana, A., Soul-making, Appropriation and Improvisation, (n.d.) Scribd, Retrieved from
https://www.scribd.com/presentation/416003470/Soul-Making-Appropriation-And-Improvisation

Explore art styles, (n.d.), Art-is-fun, Retrieved from https://www.art-is-fun.com/art-styles

Marder, L., The definition of ‘Form’ in Art, (January 24, 2020), ThoughtCo., Retrieved from
https://www.thoughtco.com/definition-of-form-in-art-182437

Types of content, (n.d.) LumenLearning, Retrieved from

https://courses.lumenlearning.com/boundless-arthistory/chapter/content/

46
 Lesson 12
Narratives, Appropriation,
Borrowing and Ownership
____________________________________________________________________________
Introduction:
Do you steal from the works of others? Do you think it is rightful and just in taking and using
other artist’s work and ideas? If you think not, find out the ways in which we can make use of
other artists’ ideas through the right way.
Topic Learning Outcomes:
At the end of this chapter, the student learner is able to achieve the following:
a. identify what art narratives and art appropriation is
b. create an artwork using the idea of an already established artwork.

Narrative art is art that tells a story, either as a moment in an ongoing story or as a
sequence of events unfolding over time. Some of the earliest evidence of human art suggests
that people told stories with pictures. Although there are some common features to all narrative
art, different cultures have developed idiosyncratic ways to discern narrative action from
pictures.
Prior to the advent of literacy most narrative art was done in a simultaneous narrative style with
very little overarching organization. Once literacy developed in different parts of the world
pictures began to be organized along register lines, like lines on a page, that helped define the
direction of the narrative. This method of linking scenes together led to other ways of telling
stories in the 20th century, namely the newspaper, comic strips and comic books.
In painting in traditional Western art since the Renaissance, the concept of history
painting covers most narrative scenes.
Types of narratives:

 Simultaneous narrative is a type of narrative that has very little visually discernible
organization to those who are not acquainted with its purpose. It can focus on geometric
or abstract designs as well as the placement or arrangement of items within the artwork.
Simultaneous narratives concentrate on repeatable patterns and redundant systems with
a focus on dualities
 monoscenic narrative is a type of narrative that represents a single scene. There is no
repetition of characters and there is only one action taking place. The scene is one that
is easily identifiable in context of the narrative and is of significant importance.
Under this definition, most art that is usually not considered a narrative would fit under
the monoscenic narrative type. Narrative art is art that tells a story, either as a moment
in an ongoing story or as a sequence of events unfolding over time. This in retrospect
makes a good portion of art narrative art. Landscapes and portraits however do not meet

47
 the criteria of the definition provided, though they might be, depending on the artist’s
intention.
 continuous narrative is a type of narrative that illustrates multiple scenes of a narrative
within a single frame. Multiple actions and scenes are portrayed in a single visual field
without any dividers. The sequence of events within the narrative is defined through the
reuse of the main character or characters. It emphasizes the change in movement and
state of the repeating characters as indicators of scene or phase changes in the
narrative
 synoptic narrative depicts a single scene in which a character or characters are
portrayed multiple times within a frame to convey that multiple actions are taking place.
This causes the sequence of events to be unclear within the narrative. Synoptic
narratives typically provide visual cues that convey the sequence, but still might be
difficult to decipher for those unfamiliar with the story
 panoramic narrative is a narrative that depicts multiple scenes and actions without
repetition of characters. Actions may be in a sequence or represent simultaneous
actions during an event.
 progressive narrative portrays a single scene in which characters do not repeat.
However, multiple actions are taking place in order to convey a passing of time in the
narrative. A progressive narrative is not to be interpreted as a group of simultaneous
events but rather a sequence that is dependent on its location. Actions displayed by
characters in the narratives compact present and future action into a single image.
 sequential narrative is very much like a continuous narrative with one major difference. A
sequential narrative focuses on enframement to develop temporal progression. Each
scene and action is represented within its frame as a unit. Each frame is a particular
scene during a particular moment. A sequential narrative is the type of narrative
generally used in comics
Art Appropriation

Photo source:
widewalls.ch.com

Appropriation is another significant Postmodernist idea.

The thought being that if nothing is original, then why not just steal shamelessly?
Pastiche, collage, deliberate reworkings of reworkings of other people’s words, art and ideas.

48
 Appropriation is an important historical practice in art-making, in which the artist uses a
previously existing form, image or sound in new ways. The creative effort is defined by the
inspired selection and manipulation of found materials. The end result is strangely familiar, yet
altogether new creation.
What is Appropriation Art?

 The deliberate reproduction of elements of another artists’ work.

 Artists copying artworks for their own artistic expression.
 It involves adopting intellectual property from elsewhere
 It borrows images, styles, or forms from art history or popular culture.
 This movement evolved in the 1960s and peaked in the 80s.

Photo source:
moma.org

Let Us Do This Practice!

In a short bond paper, draw an image using a popular painting or a work of art. Make sure to
follow correct art appropriation rules. Attach this on your worksheet

References:
Evans, D. (2009). Appropriation: documents of contemporary art. Cambridge: MIT Press
Gersh- Nesic (2019). What is Appropriation Art? Retrieved from
https://www.thoughtco.com/appropriationart-183190

49
 Lesson 13
Textile Art
__________________________________________________
Introduction
Art can be seen everywhere, to the parks, schools, and houses. Even to the clothes we
wear carries art within. For centuries, the world of textile art has been seemingly evolving and
reconstructing patterns and ideas that we can surely relate to.
Trends and style somehow would pass and then be reused once more. Let us find out
this sophisticated and laborious world of textiles.
Topic Learning Outcomes:
By the end of this lesson, you should be able to:

a. create a textile artwork using yarn and threads as a medium.

Textile art is the process of creating something using fibers gained from sources like
plants, animals, insects, or synthetic materials. Making textiles is an extremely old art form.
Textile fragments have been found dating back to prehistoric times and there's a good reason
for this. Think of how cold winter can be. How would you feel if you didn't have warm clothing?
People developed textiles to keep warm, to protect surfaces and to insulate dwellings.
Examples of such textiles include tapestries, rugs, quilts, and of course clothing. People
also used textiles to make objects that signaled status or commemorated important events.
Examples of this type of textile include things like flags, military uniforms, or ceremonial
banners. Many cultures around the world have distinct methods of making textiles by using
materials available to them, and some have become famous over the centuries like Chinese
silks or Turkish rugs. Today, many contemporary artists work with fibers and textiles in new and
exciting ways. Let's look at a few methods of making textile art.

Photo source:
zum.de.com

Example of ancient textile art. Woven tunic decoration from Egypt, circa 800 AD

50
Yarns and Threads
Textiles are often made through traditional methods like sewing, weaving, and knitting.
These methods all have a basic principle in common -- they use thread or yarn to make or
connect pieces of fabric. In sewing, a single needle and thread stitches pieces of cloth together
and also adds surface ornament. Embroidery, covering the surface of a textile with decorative
pictures and colorful patterns, is a form of sewing.
Weaving involves interlacing two sets of threads. These are called the warp, which runs
vertically, and the weft, which runs horizontally. Weaving requires using a piece of equipment
called a loom. The warp threads are held tight and the weft threads are fed through them.
Merging the two together is the process of weaving.
Let's look at an example. The native Chilkat peoples, who live along the Pacific
Northwest Coast of North America, made beautiful, elaborate blankets by weaving warp threads
made of cedar-bark string with weft threads spun from mountain goat or sheep wool. Can you
image how long it would take to make something like this?

Photo source:
spinoffmagazine.com

Example of woven textile, Chilkat blanket from Pacific Northwest, ca. 1900
Knitting is one of the oldest and simplest means of making a fabric. You don't need a
loom or other fancy equipment, just yarn and large needles, both of which are portable. The
process of knitting involves connecting the yarn by a series of loops. It's normally done by hand,
although there are such things as knitting machines. Clothing and blankets can be knitted, and
today some artists also get creative with public art by doing something called yarnbombing.
Yarnbombing involves covering items in the neighborhood or external environment, like cars,
bicycles or trees, with knitting.

51
 Photo source:
iloboyou.com

Example of a tree decorated with yarnbombing in Ulverstone, Tasmania

Flax
Flax is believed to be the oldest fiber that was used to create textiles, as it was found in
the tombs of mummies from as early as 6500 B.C. The fibers from the flax are taken from the
filaments in the stem of the plant, spun together to create long strands, and then woven into
long pieces of linen that were used from anything from bandages to clothing and tapestries.
Each fiber's length depends on the height of the leaf that it is serving, with 10 filaments in a
bundle serving each leaf on the plant. Each filament is the same thickness, giving it a
consistency that is ideal for spinning yarn. The yarn was best used on warping boards or
warping reels to create large pieces of cloth that could be dyed and woven into different patterns
to create elaborate tapestries and embroideries. One example of how linen was used is in the
picture of a bandage that a mummy was wrapped in, dated between 305 and 30 B.C. Some of
the bandages were painted with hieroglyphs if the person being buried was of importance to the
community.

52
 Photo source:
study.com

Linen (flax) cloth that was used in mummification

Cotton
Cotton was first used in 5000 B.C. in India and the Middle East, and spread to Europe
after they invaded India in 327 B.C. The manufacture and production of cotton spread rapidly in
the 18th century, and it quickly became one of the most important textile fibers because of its
comfort, durability, and absorbency. Cotton fibers are seed hairs formed in a capsule that grows
after the plant flowers. The fibers complete their growth cycle and burst to release about 30
seeds that each have between 200 and 7000 seed hairs that are between 22 and 50 millimeters
long. About 90% of the seed hairs are cellulose, with the other 10% being wax, pectate, protein,
and other minerals. Once it is processed, cotton can be spun into yarn of various thicknesses to
be woven or knitted into various different products such as velvet, chambray, corduroy, jersey,
flannel, and velour that can be used in clothing tapestries, rugs, and drapes, as shown in the
image of the cotton tapestry that was woven in India.

Photo source:
mymodernmet.com

Cotton tapestry that was woven into an intricate pattern in India

53
 Let Us Do This Practice!
A– Watch a YouTube tutorial video on how to make a textile art. Here is the link to the
video: https://m.youtube.com/watch?v=kfXXsLLDnhQ. After watching the video, come
up with your own textile artwork with yarns and threads as your medium. You can
choose any subject you want. Your output will be graded by the criteria below:
 Uniqueness – 25%
 Professional quality (neatness and level of complexity) – 25%
 Aesthetic quality (design, composition, color, etc.) – 25%
 Selection and application of materials – 25%

References:

What is Textile Art?, (n.d.), Study.com, Retrieved from https://study.com/academy/lesson/what-

is-textile-art.html

Textile arts, (n.d.) Wikipedia, Retrieved from https://en.wikipedia.org/wiki/Textile_arts

Textile Projects - Part 1 - Weaving with fabrics and yarns, (August 21, 2016) YouTube,
Retrieved from https://www.youtube.com/watch?v=kfXXsLLDnhQ&app=desktop

54
 Lesson 14
Visual Elements in Philippine Traditional Motifs
____________________________________________________________________________
Introduction:
The Philippines is a country rich in creativity and resourcefulness of its people. This
creativity transpires in the way we present our crafts and textile. Look into these elements for
better and wider understanding.
Topic Learning Outcomes:
At the end of the lesson, you should be able to achieve the following:
a. Analyze how line was interpreted and utilized in traditional crafts
b. Develop student’s ability in manipulating the elements of art
c. Document changes and the shifting environment such as terrain, texture, sound through
fusion of various elements of art.

Decorative designs in traditional Filipino handiworks which include woven fabrics,

potteries, wooden carvings, jewelries, and metalcrafts, feature visual elements which may be
analyzed. These lines, colors, shapes, patterns, and symbolisms can give us understanding
about the meaning and purpose of such creations. We will begin to deeply appreciate our
identity when we have learned to decipher their beliefs, values, and ways of living as we look at
their Motif, an element of an image, may be repeated in a pattern or design, or may occur once
in a work. In this topic, we will examine various motifs present in traditional ethnic creations; a
brief review of the visual elements will function as a tool in effectively critiquing works to be
presented.
VISUAL ELEMENTS

LINE – the foundation of drawing; used to portray shape, pattern, form, structure, growth, depth,
distance, rhythm, movement and a range of emotions.

SHAPE– may be natural or man-made, regular or irregular, 2-dimensional or 3-dimensional,

representational or abstract, geometric or organic, transparent or opaque, positive or negative,
decorative or symbolic, colored, patterned or texture.

TONE- the lightness or darkness of a color; used to create a contrast of light and darkness or
create a pattern within a composition
COLOR – has the strongest impact on our emotions; used to create mood in our artwork.
PATTERN- made by repeating or echoing the elements of an artwork to show a sense of
balance, harmony, contrast, rhythm or movement. Natural patterns are observed from nature,

55
while man-made patterns are planned compositional works done to develop a more decorative
design
MOTIF
A motif is an image, spoken, or written word, sound, act or another visual or structural device
that has symbolic significance.
Motifs are used in the following ways:

 A single object that appears multiple times throughout the work with most of the
emphasis placed on the item.
 A collection of related objects that appear multiple times to emphasize the theme.
 A collection of seemingly unrelated items that serve to draw attention to the theme.
Classification of motif:

 Geometric motif- include lines in various forms, such as vertical, horizontal, diagonal,
and curved.
 Realistic or natural motif- portray a direct replica of things as they exist in nature such as
flowers on tress, animals in jungle, human figures other natural things
 Stylized motif -these are simplified variations of man-made objects that are no longer
recognizable. It is obtained by rearranging the real objects either by simplifying or
exaggerating to achieve the purpose of the design
 Abstract motif- these are combinations of color, shape without relationship to natural
man-made objects.
Philippine Concepts
On Painting

 Painting on churches started in Manila, even with priests as painter-decorators.

 Paintings during the American period has lesser direct value
 Filipino painters during the American era repainted for the love of art
 The Filipino Painters during the war sketched portraits of the living.
On Sculpture

 Even before the arrival of the Spaniards to the Philippines, some forms of native
sculpture mostly idols, already existed.
 Sculpture developed very slowly in the Philippines. After the revolution in 1896, the
Filipino sculptures began to enter monuments.
 At he turn of the second decade of American rule in the Philippines, international
competition for the design of Rizal monument was held.
 An impressive monument of the Quince Martires stands proud at Naga City.
 Guillermo Tolentino has the marvelous mastery of human figures.
On Architecture

 Filipino houses were made of light houses before the coming of the Spaniards
 Old houses in Manila were built to serve as memorials and they were built with
architectural designs.

56
  Classical architecture during the American era became famous for its porticus,
vestibules, colonnades, and the arcades.
 The first building of architectural importance were the San Agustin Church and Manila
Cathedral.
 The Morong Church façade is of local Baroque architecture
 The Carcar church is situated on an elevated ground.

Let Us Do This Practice!

In your worksheet, draw an image with a subject of your choice. The image should portray a
singular traditional motif of the Philippines.

References:
Estola, J. (1995) Introduction to humanities (arts for living). Quezon City. Echis Press. Inc.
Salvan, G. (1999). Architecturl Theory and Design. Quezon City: JMC Press Inc.

57
 Lesson 15
Soul and Space: Concepts and Implications
__________________________________________________
Introduction:
Look around your community, look into what your neighbors and family have made use
of the space that was given to all of you. What characteristic do you think do they imply?
Perhaps, what story is it trying to tell? These wooden or concrete materials, as lifeless as they
seem, brings out a story and a meaning to tell. Find it out in this chapter.
Topic Learning Outcomes:
By the end of this lesson, you should be able to:

1. determine the implications of soul and space in our society; and

2. characterize how Filipinos utilize space to determine its implications for their identities,
history, religion, and philosophy.

Photo source:
skillshare.com

One’s concept and use of space are rooted from their past and the generation where
he/she came from. Understanding how it’s used personally and communally will help us
appreciate our rich history and current experience of it. In this topic, we will examine the
concepts and implications of the Filipinos’ use of space and enumerate various examples on
how they are applied.

Contrary to Western way of living, Filipinos love to mingle in communities and even
under one roof. They tend to be attached with their unit and some live in the same house even if
they have their own families already. Generally, they have the penchant for occupying spaces.

58
Their tendency is to fill in empty spaces in the house with various things and designs (as
opposed to minimalism).

Flocking among family members, clan, or neighbors is very common. Due to nostalgia
and fear of empty spaces, objects which remind them of their loved ones are often seen in the
house. Antique furniture from ancestors, souvenir items from a loved one, huge family photos
from different occasions, and even dusty certificates with medals are seen inside their home.

DWELLING FORMS
The following are forms of shelters/communities and their corresponding features. Take
note of how Filipino concepts of space are manifested in each dwelling structure:

BAHAY KUBO

One can make a bahay kubo, a semi-permanent bungalow with raw materials found
nearby. Most nippa huts have no partitions; the space is multi-functional: for dining, entertaining
guests, napping and sleeping beside each other at night.

Photo source:
carousel.ph

TOROGAN

Once a dwelling place of a sultan or datu, torogan is a traditional shelter conceptualized

by the Maranaos in Lanao. It has been declared by the National Museum as a National Cultural
Treasure and has become a common structure in the area, with the known okir carvings seen in
the panolongs and sarimanok displayed inside. The structure is elevated above the ground by
wooden columns. Walls are wrapped with plywood sticks and the roof is covered with dried
coconut leaves. Like a nipa hut, it has no interior partition.

59
 Photo source:
weekendhaven.com

IFUGAO BALE

Ifugao Bale is a traditional windowless house built without nails. It is made from
amuwagan trees and built with four posts buried 50 centimeters below the ground. Its triangular
roof protects the dwellers from the elements and weather. Due to its design, it can be
dismantled and reassembled into another location.

Though it looks small on the outside, its interior includes more spaces, with three
functional floors. The ground level has wooden discs (oliang) which prevent rats from coming in;
the second level which can be reached through a detachable ladder is where the family
members may gather, rest, dine, and prepare meals. The third floor has patie which functions as
storage area and roof support. Animal skulls are displayed inside the house to please the gods.

Photo source:
joansfootprints.com

BAHAY NA BATO

60
 During Spanish colonization, the principalias and the ilustrados integrated the features of
bahay kubo with artistic elements from Europe and Asia. Since 18th century until WWII, the
bahay na bato was considered the ideal Filipino shelter.

According to the book Architecture in The Philippines by Winand Klassen: “The third and
final stage in the development of the Spanish-Filipino domestic architecture retained the
wooden supporting structure but restricted the use of brick and stone to the lower level; the
upper level consisted of an enclosure in vertical wooden siding which left ample openings for
sliding windows. Capiz shells were often used as window panes. What emerges is a Spanish-
Filipino house.”

Stylistic differences range from family tastes to regional trends. Its usual design includes
two-story levels with the living room in the upper part of the house. Large windows and their
above vents are built to take advantage of the cool breeze outside. Windows are designed by
Capiz shells and can be opened and closed depending on the weather.

Traditional rooms include the caida (receiving area), sala mayor (main living room),
comedor (dining room), oratorio (prayer room), curators (bedrooms), cocina (kitchen), and
azotea (open balcony).

Photo source:
pinterest.com

GATED COMMUNITY

Filipinos also love to settle in villages and tend to utilize the empty spaces around the
area. Inclined to variety, they like to put gardens, entertainment areas, garages, and parks on
vacant lots around the houses.

FILIPINO STREETS

Local streets serve as extensions for Filipinos’ tendency to fill out space. They function
not just for pedestrian or vehicular means but as areas for socialization, dining, cooking,
business and celebrations.

61
SARI-SARI STORE CONCEPT

Daily interactions happen in and outside sari-sari stores. The idea of spacelessness is
manifested in its structural design.

Let Us Do This Practice!

Answer the following essay questions on your worksheet:

1. Cite the similarities and differences of the features of each dwelling structure.
2. What can you conclude about the Filipinos’ concept of space with the samples given?
3. Describe and analyze your own house using the facts and principles learned in this
lesson.

References

Gardner, Robert. From Bahay Kubo to Bahay na Bato to…Philippine Journeys. Retrieved on
April 28, 2019 from http://www.aenet.org/photos/bahay.htm

Guyjoco, Chiqui (July 1, 2017). The Ifugao Bale or No-Nail House: Why It’s Part of Pinoy Pride.
Heartbeats. Retrieved on April 28, 2019 from https://heartbeatsv2.com/ifugao-house-bale-no-
nail-house/.

Hays, Jeffrey (2008). Ifugao. Facts and Details. Retrieved on April 28, 2019 from
http://factsanddetails.com/southeast-asia/Philippines/sub5_6d/entry-3880.html.

Lorenzo, Clarissa M. (January 6, 2016). The Filipino Culture Filling Up Space in a Gated
Community. Sciencedirect. Retrieved on April 28, 2019 from
https://www.sciencedirect.com/science/article/pii/S187704815061972.

Martinez, Glenn (August 21, 2018). Here’s a Complete List of 46 Parts of a Filipino House. Real
Living. Retrieved on April 28, 2019 from https://www.realliving.com.ph/lifestyle/arts-culture/
here-s-a-complete-list-of-the-46-parts-of-the-Filipino-house-a1618-20180821-lfrm.

62
 Lesson 16
Symmetry in Art
__________________________________________________
Introduction:
The beauty of balance and proportion has been championed by art for decades. It has
been displayed on posters, paintings, clothes, sculpture, infrastructure and others.
This is said to be a means of human beings to replicate nature as it portrays perfect
balance and harmony in itself. Let us take a closer look of this concept in terms of arts.
Topic Learning Outcomes:
By the end of this lesson, you should be able to:

1. identify and discuss the presence of symmetry in an artwork; and

2. draw an artwork in which symmetry in art can be seen.
_________________________________________________________________________

Since Romanticism, art divided itself into two streams, the one of logic and science and
the other of pure expression. Both focused their forces for the better understanding of the world
yet the tools that they relied upon differed. The fusion of creativity and science and the
understanding that the world is most easily understood through numbers, golden ratio,
symmetry, balance, and proportion, influenced some of the major artworks in the past.
The idea of symmetry art is possibly one of the most interesting ones to examine since it
suggests the need of the painter to produce the most pleasing image for the eye, but it also
showcases the desire to copy nature and to better understand, and in some cases, even
manipulate with its laws.
What is Symmetry?
Symmetry in everyday language refers to a sense of harmonious and most appealing
proportion and balance. Symmetrical balance is also called formal balance because it employs
a formula of the mirror image about vertical axes. It is a balance that is achieved by the
arrangement of elements on both side of the center, in other words, the image would look
identical on either side, formed through horizontal or vertical division. Because of its very
structured and equally proportioned nature, symmetrical balance is best suited for if the desired
effect requires a sense of order, clarity, and consistency. For the eye, the idea of balance and
repetition that follows an identical rhythm is a place of rest and this type of image is easy to
follow.
One of the usually desirable characteristics of any composition, be it within an abstract
piece or highly realistic painting, is balance. This could be achieved by the formula of the
symmetrical balance, but also with the use of different types of symmetry that slightly move the
elements within the picture to the left, right, to the bottom or up. While designers most often use
the symmetrical balance, most painters tend to look towards the slight shifts that are available in

63
inverted symmetry, near symmetry, biaxial symmetry, radial symmetry, and even asymmetry is
used to place focus on one particular part or figure within the work.
Art can still be art even when it is able to be cut have and look exactly the same as the
other half. Art can be even more beautiful when you have to half's that look exactly the same
through how much detail is on both half's and their color in the symmetry.
Examples of Symmetry Art

Photo source:
visualartspdsf.blogspot.com

The first art peace shows the exact definition of symmetry. You can cut the sculpture in
half and you will find the same exact detail in both halves of the sculpture.

64
 Photo source:
popicon.com

The second image shows that symmetry is everywhere, even in the interior designing of
our furniture and appliances.

Photo source:
creativebloq.com

The urn above is a work of art because of its obvious symmetrical designs.

65
 Photo source:
artdiscovery.info.com

Clothing has also taken up a huge part of symmetry through the designs on dresses or
shirts. A lot of people want to wear these designs. Or do they really just want to wear art itself?

Photo source:
slideshare.net

66
 Even mats carpets have the beauty of symmetrical patterns on them and this tells us
that symmetrical art is a huge part in our lives.

Let Us Do This Practice!

A. Examine the artworks below and answer the questions that follow on your
worksheet.
B. On your worksheet, draw an artwork in which symmetrical balance can be seen.
You are free to choose from any medium you wish to use (water color, charcoal,
pastel, paint, pencil, marker, etc.) The subject of your artwork is nature.

1. The Last Supper by Leonardo da Vinci

Photo source:
fineartmerica.com

 Is there symmetry in the artwork above? Why or why not?

 What are the details that you can observe in the artwork that prove the existence/non-
existence of symmetry?

2. The Scream by Edvard Munch

Photo source;
khanacademy.org

67
  Is there symmetry in the artwork above? Why or why not?
 What are the details that you can observe in the artwork that prove the existence/non-
existence of symmetry?

3. The Starry Night by Vincent Van Gogh

Photo source:
artwithmrsfilmore.com

 Is there symmetry in the artwork above? Why or why not?

 What are the details that you can observe in the artwork that prove the existence/non-
existence of symmetry?

4. An image from andreaspreis.com

Photo source:
andreaspreis.com

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  Is there symmetry in the artwork above? Why or why not?
 What are the details that you can observe in the artwork that prove the existence/non-
existence of symmetry?

References:
Symmetry in art. Symmetry is art., (n.d.) Google Arts and Culture, Retrieved from
https://artsandculture.google.com/usergallery/symmetry-in-art-symmetry-is-art/agKyY_RoVffvLA

Silka, P., Is there symmetry art? What shape does it take? (July 24, 2016) Widewalls, Retrieved
from https://www.widewalls.ch/symmetry-art/

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 Lesson 17
Improvisation and Appropriation Art
__________________________________________________
Introduction:
In this chapter, the concept of spontaneity in art would be discussed through
improvisation and appropriation. With the creativity and resourcefulness of the skilled artists
they are able to better showcase their ideas and better express their craft.
Topic Learning Outcomes:
By the end of this lesson, you should be able to:

1. discuss how improvisation can make an artwork distinctive; and

2. identify the issues and problems that can arise because of appropriation of art.
_________________________________________________________________________

Improvisation

Improvisation can be defined as doing something without prior preparation. There is a

decision to act upon something that may not necessarily be planned. Within the present context,
improvisation has become an integral part of the arts. Some would say that it is a reaction
against stiffness in the arts during the 20th century. There is a call for liberation from monotony
that aims to rekindle the creative spirits of people in the arts.

For some artists, infusing spontaneity and improvisation adds up to the totality of the
work of art. The unexpectedness of the changes brought about by improvisation makes the
artwork to have a distinctive quality that creates its individuality and identity. Some artists
subscribe to the idea of allowing chances in the process of producing the work. For example,
artists would not want to capture the gloom brought about by an approaching storm or the
beauty of a meteor shower at night. Since they do not necessarily have absolute control over
natural phenomena, their reliance on chances may not necessarily produce their expected
outcome. Artists allowing their subjects do improvisation may have totally different results as
well.

When an artist makes his work, he already has an idea of the elements that will be
included in his work. As he begins to craft his work, he may have deviated from his original plan.
So in essence, improvisation is evident in the process of making the painting. During the 1960s,
art improvisation has taken form in the galleries around New York City. Performance arts,
dance, and visual arts were combined to create new forms of artworks using a new medium.
These performances were known as the “Happenings” which later on paved the way for modern
body art and performance art. One central figure in the improvisation movement was Georges
Mathieu. He started the “action painting” wherein the process is seen real-time. In this scenario,
the process is more important than the finished product.

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 Photo source:
behance.net

The figure above (Marta Minunjin Performance Art) shows how improvisation allows for
a certain extent of freedom for the artist to improvise and allow the subject to perform and
embody the artwork itself. To a certain extent, it allows the artist to explore and think about how
the audience can actually be a part of the work in itself. Improvisation may have been a
revolutionary concept when it comes to art because it blurs the line of reality and that of
imagination.

Appropriation

Appropriation refers to the act of borrowing or reusing existing elements within a new
work. Post-modern appropriation artists, including Barbara Kruger, are keen to deny the notion
of ‘originality’. They believe that in borrowing existing imagery or elements of imagery, they are
re-contextualizing or appropriating the original imagery, allowing the viewer to renegotiate the
meaning of the original in a different, more relevant, or more current context.

In separating images from the original context of their own media, we allow them to take
on new and varied meanings. The process and nature of appropriation has considered by
anthropologists as part of the study of cultural change and cross-cultural contact. Images and
elements of culture that have been appropriated commonly involve famous and recognizable
works of art, well known literature, and easily accessible images from the media.

The first artist to successfully demonstrate forms of appropriation within his or her work
is widely considered to be Marcel Duchamp. He devised the concept of the ‘readymade’, which
essentially involved an item being chosen by the artist, signed by the artist and repositioned into
a gallery context.

By asking the viewer to consider the object as art, Duchamp was appropriating it. For
Duchamp, the work of the artist was in selecting the object. Whilst the beginnings of
appropriation can be located to the beginning of the 20th century through the innovations of
Duchamp, it is often said that if the art of the 1980’s could be epitomized by any one technique
or practice, it would be appropriation.

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 Photo source:
inquiriesjournal.com

Left: Robert Colesscott, Les Demoiselles d’Alabama, 19855; Right: Pablo Picasso, Les
Demoiselles d’Avignon, 19076
Above we see a contemporary example of appropriation, a painting which borrows its
narrative and composition from the infamous Les Demoiselles d’Avignon by Picasso. Here
Colesscott has developed Picasso’s abstraction and ‘Africanism’ in line with European
influences. Colescott has made this famous image his own, in terms of colour and content,
whilst still making his inspiration clear. The historical reference to Picasso is there, but this is
undeniably the artist’s own work. Other types of appropriation often do not have such clear
differences between the original and the newly appropriated piece.

The concepts of originality and of authorship are central to the debate of appropriation in
contemporary art. We shall discuss these in depth in order to contextualize the works we will
investigate later in this essay. To properly examine the concept it is also necessary to consider
the work of the artists associated with appropriation with regards to their motivations, reasoning,
and the effect of their work.

The term ‘author’ refers to one who originates or gives existence to a piece of work.
Authorship then, determines a responsibility for what is created by that author. The practice of
appropriation is often thought to support the point of view that authorship in art is an outmoded
or misguided concept. Perhaps the most famous supporter of this notion was Roland Barthes.
His 1966 work ‘The Death of the Author’ argued that we should not look to the creator of a
literary or artistic work when attempting to interpret the meaning inherent within. “The
explanation of a work is always sought in the man or woman who created it… (but) it is
language which speaks; not the author.” With appropriated works, the viewer is less likely to
consider the role of the author or artist in constructing interpretations and opinions of the work if
they are aware of the work from which it was appropriated. Questions are more likely to concern
the validity of the work in a more current context, and the issues raised by the resurrection and
re-contextualizing of the original. Barthes finishes his essay by affirming, “The birth of the reader
must be at the cost of the death of the author.” Suggesting that one can and should only
interpret a work on its own terms and merit, not that of the person who created it. In contrast to
the view supported by the much-cited words of Roland Barthes, is the view that appropriation
can in fact strengthen and reaffirm the concept of authorship within art. In her 2005 essay
Appropriation and Authorship in Contemporary Art, Sherri Irvin argues:

72
 Authorship then, is a concept we must consider when discussing appropriated works.
The evidence presented suggests that the notion of authorship is still very much present within
appropriation in contemporary art. However, the weight of Barthes argument is such that we
must take it into account. Perhaps a diminished responsibility or authorship is something we can
consider in this context.

Perhaps the most central theme in the discourse on appropriation is the issue of
originality. The primary question we must address is – what is originality? It is a quality that can
refer to the circumstances of creation – i.e. something that is un-plagiarized and the invention of
the artist or author? We can approach originality in two ways: as a property of the work of art
itself, or alternatively as a property of the artist. As we have said, many appropriation artists are
keen to deny the notion of originality. In a paper addressing the notion of originality within
appropriated art, Julie Van Camp states: “We value originality because it demonstrates the
ability of the artist to advance the potential of an art form.”

This statement is problematic, as it is almost dismissive of the ability of an artist who

chooses appropriation as their form of representation. Let us look to the example of Sherrie
Levine, perhaps the most well-known and cited appropriation artist. Levine worked first with
collage, but is most known for her work with re-photography – taking photographs of well-known
photographic images from books and catalogues, which she then presents as her own work. In
1979 she photographed work by photographer Walker Evans from 1936. Her work did not
attempt to edit or manipulate any of these images, but simply capture them.

Photo source:
medium.com

Left: Sherrie Levine, After Walker Evans, 1981; Right: Walker Evans, Alabama Tenant Farmer's
Wife, 1936

By bringing this work back into the conscious of the art world, she was advancing the art
form that is photography by using it to increase our awareness of already existing imagery. On a
basic level, we tend to equate originality with aesthetic newness. Why should a new concept –
the concept of appropriation and the utilising of existing imagery – be deemed unoriginal?
Sherrie Levine was interested in the idea of “multiple images and mechanical reproduction”. She
said of her work “it was never an issue of morality; it was always an issue of utility.” This
statement is easily applied to the works of other appropriation artists, as well as Levine’s.

Barbara Kruger’s work utilised media imagery in an attempt to interpret consumer

society. Her background was in media and advertising, having worked as a graphic designer,
and picture editor for Condé Nast. Her work “combines compelling images… with pungently
confrontational assertations to expose stereotypes beneath.” Her most famous work typically
combines black and white photography, overlaid with text in a red and white typeface.
Statements within her work such as “We don’t need another hero”, “Who knows that depression

73
lurks when power is near?” and “Fund healthcare not warfare” have naturally led viewers to
consider her art as politically themed. Kruger however, finds the political label often attached to
her work problematic.

In a 1988 interview she insists, “I work with pictures and words because they have the
ability to determine who we are, what we want to be and who we become.” Whilst there may or
may not be political elements to Kruger’s work, the undeniable underlying theme prominent
throughout all of her works is the issue of our consumer society.

By using images available for public consumption in a composition with a thought

provoking statement, Kruger is asking us to rethink the images that we consume on a daily
basis in terms of perception and how underlying messages function within this imagery.
Kruger’s use of “less abstract subjects than Duchamp’s” may well increase the accessibility of
her work, making it familiar and thus available to a wider audience.

Photo source:
nytimes.com

Untitled (We Don’t Need Another Hero), Barbara Kruger, 1987

Barbara Kruger is still creating art today, and the most current example of her work is
seen in the November 2010 issue of W Magazine: The Art Issue featuring reality TV star Kim
Kardashian on the cover. It features a naked Kardashian with Kruger’s famous red and white
block text covering her modesty. The text reads “It’s all about me/I mean you/I mean me”.
Combining the words of Kruger and the image of currently world famous Kardashian is a form of
appropriation in itself. W Magazine is appropriating the star into an art context, by simply
featuring her on the cover of their art issue. This could be an attempt to consider another area of
our consumer culture, which the cover star makes her living from – reality TV – as an art form.
Here W Magazine has appropriated the image of Kardashian, and is therefore asking us to
consider the ‘art’ of reality TV.

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 Photo source:
thecut.com

W Magazine, The Art Issue, November 2010

Let Us Do This Practice!

A. Answer the questions below on your worksheet. Each question corresponds to five (5)
points.

1. How can improvisation contribute to the distinctive quality of the artwork?

2. What do you think is the reason why artists appropriate art?
3. What do you think are the possible problems which may arise with the use of
appropriation in art?

References:

Harris, W. (n.d.). “Improvisation: The New Spirits in the Arts.” In Middlebury. Retrieved from
http://community.middlebury.edu/~harris/improvisation.html.

Rowe, H. (2011) “Appropriation in Contemporary Art” In InquiriesJournal. Retrieved from

http://www.inquiriesjournal.com/articles/1661/appropriation-in-contemporary-art

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 Lesson 18
Modern and Contemporary Art
__________________________________________________
Introduction:
With the advent of modernization and technology, the world of art has been influenced by this
phenomenon as well. In this influx of Neolithic thinking, art has been influenced by this
insurgence that many budding artists are creating new trends in the modern era.
Topic Learning Outcome;
By the end of this lesson, you should be able to:

1. differentiate modern and contemporary art;

2. show the similar characteristics of modern and contemporary art; and
3. conceptualize a desired art movement in the future.
_________________________________________________________________________

What’s the difference between Modern and Contemporary Art?

Have you ever wondered about the difference between modern and contemporary art?
Or wondered if there even is a difference between the two? Well, first of all, the two terms are
not interchangeable. There is a difference, and it is based on rough date ranges established by
art historians, art critics, curators, art institutions, and the like, who recognized a distinct shift
that took place, marking the end of Modernism and the beginning of the contemporary age.
Modern art is that which was created sometime between the 1860s (some say the 1880s) and
the late 1960s (some say only through the 1950s). Art made thereafter (e.g., conceptual,
minimalist, postmodern, feminist) is considered contemporary.

When discussing the difference between modern and contemporary art, it is important to
tell the story of Gustave Courbet, a French painter who spearheaded the Realist movement in
the 19th century.

Courbet challenged the Romanticism concept of most of the famous artists of his time.
He stayed strong to his beliefs, which was painting only what the eyes could see. The Cubists
and Impressionists were some of the many artist groups that took the influence of his
‘independent mind’ which helped them to blossom and improve in their artworks.

How Courbet Buried Romanticism, and Gave Birth to Modern Art?

76
 Photo source:
walkeart.com

Just like his famous “A Burial at Ornans” painting (above), Gustav Courbet stayed true to
his perception of realism and only ‘painting what he could see’. The painting was the burial of
Courbet’s uncle in a small French town called Ornans and the picture did not have any
exaggerated visual details.

Emotions like grief and mourning were not displayed. Unlike customary Romantic
paintings that show emotions and surrealism. It stayed true to its realism.
The Romanticism style became famous during the 1849-50 eras when art was still made with
traditional methods. This was the time Courbet painted and released the “A Burial at Ornans”
painting and critics did not like the work, especially its strange size which stood at 10 feet by 22
feet.

He painted real people who were actually present at the burial instead of art models.
“The Burial of Ornans was in reality, the burial of Romanticism” Courbet eventually concluded.

None of his friends, family, or loved ones could have predicted the success and fame the
painting brought to the art world. His different style sealed his name as the ‘first modern artist’
and it began the introduction of the ‘Modern Art Period’.

What is Modern Art?

When we hear the word modern we begin to think about new, trendy, and fashionable
things in the world. “Modern Art” can simply be described as the style and philosophy of
artworks produced during the 1890-1960 era.

In other words, the style applied many concepts of Modern Art but it made more
emphasis on social, economic, and political matters. This was possible with the use of new
materials and components in producing art. The main aim of Modern Art was setting aside the
customary traditions of the past world and focusing on a new approach in identifying and
assessing the current issues of the world.

How Modern Art introduced us to a new era of Art?

77
 Modernism movement introduced many fresh concepts and ideas into the world of art.
As a result, many artists of that time started exploring dreams, symbolism, and personal
iconography as their main style. Some other artists began to test the use of coloring and non-
traditional materials.

Many known artists such as Pablo Picasso took this influence, and he introduced a new
style of painting with the Modernism. It was called cubism which was known for its geometric
forms. This then evolved over the years up to the 1830s.

The invention of art photography and film cameras then provided artists with new ways
for the world illustrations and sceneries in their works.

Modern Art is used to conveying the era of ‘Modernism’, a time where art is described
with various terms ending with ‘ism’s’ such as; Fauvism, Impressionism, Post-Impressionism,
Dadaism, Cubism, Surrealism, Expressionism, Pop Art, and many other art movements.

All of it formed the foundation of Modernism Art. These art movements were influenced
by a number of factors like; African and Asian Art, Light, Culture, History, etc.

Some of the most well-known ‘Modernist Masters’ include; Pablo Picasso, Vincent Van
Gogh, Georges Seurat, Paul Cézanne, Andre Derain, Henri Matisse, Henri de Toulouse, Piet
Mondrian, Raoul Dufy, Maurice de Vlaminck, Pierre-Auguste Renoir, Wassily Kandinsky, and
Édouard Manet just to name a few.

What is Contemporary Art?

By definition, contemporary art refers to the work of arts made since the aftermath of
World War II and is used to describe the works of artists still living and creating artworks. All the
way to the year 1910 when the term was first to use, art critic Roger Fry founded the
Contemporary Art Society in London.

After World War II, the term was used to define the art movement. Critics described it as
an era where ‘modern art’ was no longer contemporary enough to have a positive effect on the
younger generations. Throughout history, the term contemporary can also be traced back to the
time of Modernism, but it was a special type of art that did not describe a specific period.
Instead, it was only based on current matters like social, economic and political issues.

Characteristics of Contemporary Art

The era of contemporary works of art produced experimental works that affect a wider
range of social, economic, and political issues. This idea reflected the issues that affect the
world today, which are in the form of racism, globalization, oppression, poverty, feminism
among many others. Over the last 30 years, we have witnessed a growing list of artworks that
bring about awareness of the most important and urgent matters. They were all highlighted by
video art, salons, object designs, graphical arts, and social media.

Contemporary art also looks like tackling and exposing more issues that will occur in the
future. This is one of the most striking differences between Modern and Contemporary art.

For one who will love to explore both modern and contemporary art, there are many
places in the world to see and experience it all. Take, for example, New York, which is one of

78
the largest cities in the USA, is home to some of the richest museums with countless
breathtaking works.

Modern Art v/s Contemporary Art – Key Differences at A Snapshot

 Modern art refers to art that began in the 1880s. Contemporary art describes the works
of artists still living and creating artworks.

 Modern Art is revolutionary by its origin (anti-romanticism), while Contemporary art is

revolutionary for the freedom and magnitude of experimentation by the artists.

 Modern Art is more self-expressive, while Contemporary Art pays attention to society,
thus known for its social impact.

 Modern Art is primarily made on canvases, while Contemporary Art is on every medium
that you can think of – video art, tech-enabled artworks, object design, graphical arts.

 Modern art focuses on the subjective representation of the chosen themes, while
Contemporary Art takes a strong stand on social, political and cultural aspects of the
world.

Other Contemporary Art Movements

Pop Art (1960s onwards)

Pop Art was both modernist and contemporary. It started out by depicting a more up-to-
date reality, using images of film-stars and other celebrities, as well as mass-made consumer
goods. But this was rapidly eclipsed by an increasing post-modern focus on impact and style.
See for instance our short guide to Andy Warhol's Pop Art of the sixties.

Performance (1960s onwards)

Emerging in America and Europe in the early 1960s, Performance art is an experimental
art form inspired by Conceptual art, as well as Dada, Futurism, the Bauhaus and (in America)
the Black Mountain College. Performance is generally supposed to be characterized by its "live"
nature - the fact that the artist communicates directly with the audience - and its impact, whether
amusing or shocking, must be memorable. A good example is the series of self-destructive
machines - probably the most famous examples of kinetic art - created by the Swiss artist Jean
Tinguely (1925-91). Even so, the exact difference between innovative theatre and Performance
art is hard to detect. Moreover its insistence on being labelled "art" - traditionally a bourgeois
event - sits awkwardly alongside its anti-establishment ethic.

Performance now includes events and "happenings" by visual artists, poets, musicians,
film makers, video artists and so on. The late-1960s and 1970s also witnessed the appearance
of "Body Art", a type of Performance in which the artist's own flesh becomes the canvas and
subsequently "performs" in a suitably shocking, newsworthy manner (for more see below).
During the 1980s, Performance art increasingly relied on technology (video, computers) to
deliver its "artistic" message. Contemporary artists associated with this genre include the
pioneer Allan Kaprow (1927-2006), Yves Klein (1928-62), Gilbert & George (b.1943, 1942), and
the extraordinary Joseph Beuys (1921-86), who created the innovative performance How to

79
Explain Pictures to a Dead Hare (1965). Another innovative artist is the Korean-American Nam
June Paik (1932-2006), who began in performance art before working with televisions and
video, and thereafter installations.

Installation (1960s onwards)

Installation art is a new art form which came to attention in the USA during the 1960s,
although the idea dates back to the Surrealist exhibitions created by Marcel Duchamp and
others, when works of art were arranged to form a complex and compelling environment. The
Russian painter and designer El Lissitzky was another pioneer whose 1923 "Proun Room" at
the Berlin Railway Station was an early type of Installation, as were the room-filled Merzbilder
constructions of Kurt Schwitters (1887-1948). Other more recent examples include Lucio
Fontana's 1950s "Spatial Environments", and Yves Klein's 1958 show "Le Vide" (The Void),
which was an empty gallery room.

Also, in the 1960s the Groupe Recherche d'Art Visuel created early installations in the
form of kinetic light environments. An installation typically occupies an entire space, like a room
or larger area, and consists of several different components. The American sculptor Ed Kienholz
used cars and institutional furniture in the 1960s, to present an installation commenting on death
and social issues. His fellow sculptor George Segal, used lifesize plaster figures portrayed in
everyday settings (like waiting for a subway train) to comment on the mundane. Other recent
installation artists have included Rebecca Horn, Bruce Nauman, Christian Boltanski, Richard
Wilson and Tracey Emin. See also LED installation art - a form of kinetic art - by Tatsuo
Miyajima (b.1957).

Conceptualism (1960s onwards)

Conceptual art is a postmodernist art movement founded on the principle that art is a
'concept' rather than a material object. That is to say, the 'idea' which a work represents is
considered its essential component, and the "finished product", if it exists at all, is regarded
essentially as a form of documentation rather than as an artifact. The origins of Conceptualism
go back to Dada and the early 20th century avant-garde artist Marcel Duchamp, but it wasn't
until the 1960s that it became a recognizable movement and acquired a name. Conceptual art
has the ability to deliver ideas quite powerfully, hence it has served as a popular vehicle for
socio-political comment. In addition, by downplaying the need for any painterly or sculptural
skills - indeed, for any craftsmanship at all - it retains a subversive edge by challenging the
entire tradition of a work of art as a unique and valuable object. Some experts point to the fact
that the postmodern era demands more than the passive experience of "viewing" a work of art,
and that Conceptualism provides a more interactive experience. Whether this added
entertainment value helps an "idea" to qualify as a work of art, is rather doubtful. For works by
one of Europe's first conceptual artists, please see also: Yves Klein's Postmodernist art (1956-
62).

An illustration of this issue is the large collection of shoes in the Holocaust Museum in
Washington, DC, which belonged to Nazi concentration camp victims. It has been suggested
that this has the characteristics of a Conceptual artwork, because walking past the huge pile of
shoes helps us to comprehend the terrifying reality of the gas chambers. Indeed it does, but
frankly it doesn't turn the shoes into a work of art, or indeed any type of artistic statement.
(Compare Holocaust art 1933-45.) It is a political or historical statement. Thus the difficulty for
Conceptualism is to show how it qualifies as art, as opposed to entertainment, theatre, or
political commentary.

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 Important exponents of Conceptualism include Sol LeWitt, Joseph Beuys, Felix
Gonzales-Torres, Eva Hesse, Jenny Holzer, Joseph Kosuth, Barbara Kruger, Jean Tinguely and
Lawrence Weiner. Other artists associated with the movement include Mel Bochner, Hanne
Darboven, Agnes Denes, Jan Dibbets, Hans Haacke, On Kawara and Les Levine.

Photo-Realist Art (Hyperrealism) (1960s, 1970s)

Photorealism was a style of painting that appeared in the late 1960s, in which subjects
(people or urban scenes) are painted in a highly detailed manner, resembling photographs.
Most practitioners work directly from photographs or digital computer imagery, and the subject
matter is quite banal and of no special interest. Instead the real focus is on the precision and
detail achieved by the artist, and its impact on the viewer. Photographic realism was largely
inspired by Pop-Art - banal subject-matter was common to both, and certain artists (eg. Malcolm
Morley and Mel Ramos) used both styles. however Photo-Realism lacks Pop-Art's whimsical or
ironic humour, and can even be faintly disturbing. What's more, paradoxically, its microscopic,
indiscriminate detail can actually create a slightly "unreal" effect. Leading members of the
Super-Realist movement include Richard Estes - who specializes in street scenes containing
complex glass-reflections - and Chuck Close, who excels at monumental pictures of
expressionless faces. Other Hyper-Realist painters include Robert Bechtle, Audrey Flack, Ralph
Goings and John Doherty. Hyperrealist sculptors include Duane Hanson (1925-96), John de
Andrea (b.1941), Carole Feuerman (b.1945), Ron Mueck and Robert Gober.

Earthworks (Land or Environmental Art) (1960s, 1970s)

Land art, which emerged largely in the United States during the 1960s, uses or interacts
with the landscape in order to create artistic shapes or "events”. Referred to by a variety of
names, it typically re-fashions natural forms or enhances them with man-made materials.
Pioneers of this artform include Robert Smithson, Richard Long and Andy Goldsworthy, as well
as the interventionists Christo and Jeanne-Claude. Note that Land art is quite different from
man-made monuments such as Stonehenge. The latter was errected for its ceremonial or
religious significance and is not considered to be an element of the land. Even the celebrated
Presidential portraits of Mount Rushmore, while clearly works of art, do not qualify as Land art
since they do not celebrate the land but the images made from it. For similar styles, please see
Art Movements, Periods, Schools (from about 100 BCE).

Graffiti Art (1970s onwards)

Also known as "Street Art", "Spraycan Art" and "Aerosol Art", Graffiti art is a style of
painting associated with hip-hop, a cultural movement which sprang up in various American
cities, especially on New York subway trains, during the 1970s and 1980s. B-boys, the first
generation of hip-hop voiced the frustrations of urban minorities in their attempt to create their
own form of art, a non-commercial one that did not seek to please the general public. They
employed stencils, marker pens, and aerosol spray cans, and wrote with industrial spray paint
and acrylic on all types of support: stone, plaster, metal, wood, and plastic. Their "canvases"
were subway trains, walls in urban areas and industrial wastelands, subways, roofs and
billboards. During the 1970s, Graffiti Art spread to Europe and Japan and eventually crossed
over from the street into the gallery. (See biography of Banksy, Britain's most famous graffiti
stencil artist.) The heart of the movement however, was New York City.

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 In New York an early pioneer, known by his tag TAKI 183, was a youth from Washington
Heights. The first women graffiti artists were Barbara 62 and Eva 62. From 1971, artists began
adopting signature calligraphic styles to distinguish their work, and also began breaking into
subway train depots in order to apply their tag on the sides of trains - a process called
"bombing" - with maximum effect. The train thus became their "gallery" as it showed their work
off across the city. The size and scale of tags also increased leading in 1972 to the production
of so-called "masterpieces" or "pieces" by a graffiti sprayer known as Super Kool 223. A further
development involved the inclusion of designs like polka dots, checkers and crosshatches, and
soon "Top-to-bottoms" - works spanning the entire height of a subway car - began to appear, as
well as scenery and cartoon characters. Gradually the mainstream art world started to take
notice.

The United Graffiti Artists (UGA), a group founded in 1972 by Hugo Martinez, expanded
its membership to include many of the leading graffiti artists, with a view to showing works in
official venues, like the Razor Gallery. By the mid-1970s most of the creative standards in graffiti
writing had already been established, and the genre began to stagnate. Also the NYC Metro
Transit Authority began a twofold campaign to secure depots and erase graffiti on a continuing
basis. As a result, taggers forsook the subway and took to the streets, where their static art
neccessarily received far less exposure. During the late-1980s and 1990s, more artists began
showing their works in galleries and renting art studios, a practice which had already started a
number of years earlier with taggers like Jean-Michel Basquiat - now one of the world's top
contemporary artists - who dropped his signature SAMO (Same Old Shit), in favour of
mainstream opportunities.

Other famous graffiti artists include Keith Haring (1958-90), Banksy (b.1973-4) and
David Wojnarowicz (1954-92). Graffiti is a form of the larger "Street Art" movement, a style of
outsider art created outside of the framework of traditional art venues. It embraces stencil
graffiti, poster or sticker art, pop up art and street installations, including the latest video
projections, yarn bombings and Lock-On sculptures. Street Art is sometimes referred to as
"urban art", "guerrilla art", "post-graffiti" or "neo-graffiti".

Neo-Pop Art (late 1980s onwards)

The terms "Neo-Pop" or "Post-Pop" denote the revival of American interest in the
themes and methods of the 1950s and 1960s Pop-Art movement. In particular, it refers to the
work of artists like Ashley Bickerton, Jeff Koons, Alan McCollum, and Haim Steinbach. Using
recognizable objects, images of celebrities (eg. Michael Jackson, Madonna, Britney Spears) as
well as icons and symbols from popular culture of the 1980s and 1990s, this updated form of
Pop-Art also drew inspiration from Dada (in their use of readymades and found objects), as well
as modern Conceptual art. Classic examples of Neo-Pop art are "Rat-King" (1993) a sculpture
by Katharina Fritsch, and Jeff Koons 1988 sculpture "Michael Jackson and Bubbles". Like its
parent style, Neo-Pop poked fun at celebrity stars, and openly questioned some of society's
most precious assumptions. Koons himself achieved considerable notoriety for his elevation of
kitsch into high art. His "Balloon Dog" (1994-2000) is a shiny red steel sculpture (10 feet high)
whose detailed monumental form contrasts absurdly with the trivial nature of its subject. Other
famous Neo-Pop artists included Americans Jenny Holzer, Cady Noland and Daniel Edwards;
Young British Artists Damien Hirst, Gary Hume and Gavin Turk, as well as Michael Craig-
Martin, Julian Opie and Lisa Milroy; Russians Vitali Komar and Alexander Melamid; and Belgian
artist Leo Coper.

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 NOTE: One of the confusing things about Neo-Pop is the fact that several creators of the
original 1960s and 70s Pop-art were still creating interesting works in the 1990s. The best
example is the sculptor Claes Oldenburg (b.1929) whose giant-sized Pop sculptures include
Free Stamp (1985-91, Willard Park, Cleveland) and Apple Core (1992, Israel Museum,
Jerusalem).

Let Us Do This Practice!

A. Using a Venn diagram, show the differences and similarities between modern and
contemporary art. Do this on your worksheet.

B. On your worksheet, do what is asked below:

With the different art movements across history, what do you think does the future
hold for art and art production? Looking into the next 20 years, what do you think are the
new trends that will emerge?

Create your own art movement and describe its main tenets. Give it a name. What
does this movement attempt to do? What are the concerns or questions will it attempt to
answer? Imagine what kind of materials/media techniques will be used to create and
realize the concepts behind artists’ works.

References:

Blumberg, N., What’s the difference between Modern and Contemporary Art?, (n.d.), Britannica,
Retrieved from https://www.britannica.com/story/whats-the-difference-between-modern-and-
contemporary-art

The difference between Modern and Contemporary art, (n.d.), TheArtist, Retrieved from
https://www.theartist.me/art/difference-between-modern-and-contemporary-art/

Contemporary art movements, (n.d.), Visual-arts-cork, Retrieved from http://www.visual-arts-

cork.com/contemporary-art-movements.htm

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