LESSON Artists and Artisans Learning Outcomes By the end of this lesson, you should be able to: BPM ULM Some a teers suis lee nen cece Ae eee F< Beg er discuss “the: function of state: Fee SL am eee CaM e ell UL UucolUe AML} Dee NTP ACE Rule Mer lek} (GAMABA); : ‘ : identify and define the different individuals and grou take on varied roles in the world of art a i fe Urine oo eH RCI) technique. In the advent of technology, it is remarkable what has now been made Possible. With a click of a button, an array of overwhelming information is made available informing every aspect of human life. In the fast-paced and highly complex twenty. first century, there is a real and nagging fear that soon, everything may very well be replaced by computers and robots that can arguably do things with more precision, alg shorter amount of time and less capital in the long term. This nihilist notion is contested by what are arguably the most resilient qualities of man, which is his creativity and imagination. And as long as there is a cultivation of both of these qualities, no robotor artificial intelligence can replace man just yet. The arts is one of the most significant ways in which we try to grapple with hal the present unfolds. In Robert Henri’s The Art Spirit (1923), he stated that “Art when really understood is the province of every human being. It is simply a question of doing things, anything, well. It is not an outside, extra thing. When the artist is alive in aly person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets: enlightens, and he opens ways for a better understanding. Where those who are na artists are trying to close the book he opens it, shows there are more pages possible: There is a gap when one continues to persist with the idea that art is something thal is detached from the every day. In what has been reduced to a blur, it became more integral that man pursues a better understanding of the world where he lives. On © the avenues that makes this both possible and exciting is the engagement with att an culture. 54{ry 4. With your seatmate, discuss and compare the items you listed, 5. Based on what you wrote, make an assumption about what the Painting means. Let's Get Down to Business In Peter Drucker's seminal book Post-Capitalist Society ( 1993), he stated that “the real controlling resource and the absolutely decisive factor of production is neither Capital not land nor labor. It is knowledge. Instead of Capitalists and proletarians, the classes of the post capitalist society are the knowledge workers and the service workers.” Arguably, one type of knowledge that fuels the twenty-first. century is creativity. This is evident in the recognition that professionals in the creative sector are integral drivers and movers in society and an integral segment of this sector are artists. But who are they? Artists have treaded a long history. Their roots can likewise be traced in one of the major milestones in human civilization. In the first episode of the video series “New Ways of Seeing,” a project by The New York Times’ T Brand Studio and jewelry giant Tiffany & Co., art critic Jerry Saltz (2016) underscored the significance of not only the discovery of the cave paintings, but also the paintings themselves. He asserted that “these first artists invented a way to get the three-dimensional world into two dimensions and attach value to their own ideas. And all of the history of art flows forth from this invention.” He is apparently referring to the drawings and Painted images of animals, hunting scenes, and a variety of symbolic figures created during the Stone Age. Examples of these are scattered all around the world, from France, Spain, Namibia, Australia, and Argentina to name a few. Of course, these works were not yet subsumed in the highly systematized art world, let alone considered as “art.” 560 Out of the shado) history from Bronze eee caves, astounding headway was seen moving down measeinisiuneunins me to the Mccle Ages in terms of how man continued ae ee ae oe Create varying expressions of his ideas and feelings. ian te Buns environs, trade, and other experimentations, Pee ae i echniques brought to light a wide array of artworks that Weer ear tere ae be done when the artist's vision is tapped, harnessed, eae Shs Dae cevelopient that allowed this identity of an “artist” Ree ization and sophistication that his world—the art world— Be a enciniheccan, of human civilization, much like the impulse to : ie ly on, artists were embedded in the development of culture, and in turn, art was nurtured by the varying cultures in which it existed. The works produced varied from the prosaic to those that explored a wide range of aesthetic possibilities. Seen every day, the interaction with these objects was intimate in the sense that their presence was experienced in a multitude of ways and in all of the affairs of man: ornamentations in tools and other surfaces, weaving patterns in textiles, visual features and the design/plan for architectural structures, and ritual and burial implements, among others. Artists even created places and spaces where ther. There are numerous monuments and memorials that are ous Vietnam Veterans Memorial in Washington intings that have an aura of mystery like the communities may ga plotted over the world such as the infam' DC. There are others like the cave pa iza, or have alluded comprehension like the Stonehenge. Pyramids of Gi Core tera OF eI) eh baliaa est esenn uy fees ‘By RedNavembere2 (Own Work) Figure 36. The Stonehenge (Wiltshire, England) of the Neolithic Era or New Stone Ageite t of the time, the Producre i: ked and most ‘ in this light that artists worl rplcea a | i one hats at all but rather as eh no io monn ne d Etta tho-vse of the word “embedded” may oe a ancl asi 4 ay ad circulated in the operations o: eee tong Nees ts art object that the identity of its maker be known. rh changed. The Artisan and the Guilds Have you ever wondered why some examples of artistic and creative ae i have survived to this day? Museums are Packed with pumerous) artifacts 9 interesting Objects from all Over the world that have survived centuries for us alk res that are often appreciated not only for their historig for their aesthetic characteristics that render them Uni Consider the Gothic Cathedrals ang other Megastructures that were built Over Europe during the Middle a, : Jes. C Sophisticated Taftsmen and builders jn the past did not have terminologies and Princip today. Yet, they fulfil les th nC luck must not also be forgotten ures 'Nspireq by its architectural tenets Sheer durability, but more so through of the Processes that they fol wed. An &xample of this would be the © Of the Many exam ie Ples of early Gothia eri he account was that Master mason Sethard Ryle Started the Poi iy ut was only completed roy Y 800 years later, claimin th the longest ©onstruction projects to date, ee meFigure 38. Detail of the stained glass windows of Cologne Cathedral, KéIn, Germany (2015). What is meant here is a kind of formalization of craft education in which regulation was set in place. Here, skills qualification was needed for an apprentice to register under a particular craft guild. These guilds were prevalent during the Middle Ages particularly during the thirteenth to fifteenth century, where towns had formalized groups of artisans or craftsmen who took on a particular specialization or trade: shoemakers, textile and glass workers, carpenters, carvers, masons, armorers, and weapon-makers, among others. Here, the practice of artists was not grounded on the idea of individual capacities or success; rather, in the commitment to work together as acollective. Guilds were a type of social fellowship, an association structured with tules, customs, rights, and responsibilities. With a lifetime commitment to a particular trade, an artisan develops immense skill and expertise in his craft. 59‘A master artisan or erafteman would ten pe OPEN 19 ea ces vt, would be under his tutelage and instruction. In these guilds, fale peel flourished under one roof. In the context of the cathedral construction site, the magi, prociivities and stig, mason oversaw the work by numerous men of varying artistic pene ' from the smiths (metal work), carpenters, carriers, and glaziers (stai GIASS artists) among others. inder the Four Crowned Saints. (circa 1416) the Arte dei Maestri di Pietra e Legname ters), in Orsanmichele, Florence Figure 39. The guild niche uv! This was commissioned by (guild of wood and stone cut ledge and ys of thinking about transferring knowl the trade skills by visualizing and articulating the principles, processes, and tricks of both in words and in print through manuals and publications. Of course, these print publications were done cheaply and did not have the same thoroughness as with handbooks and manuals of biblical proportions. Aside from funds, another hurdle was the fact that some of the knowledge that went into production was difficult to put into words. This can be attested in a way that often, we find ourselves at a loss when task with explaining a particular step or process in something that we created. Consid? this, in addition to the fact that receiving the explanation of how something is ma does not automatically make us impresarios who can carry out the task bump-free- This brought to light various waFigure 40. Albrecht Darer, "Se artist strongly in In the visual arts, an example of ar Durer. Born in 1471, his father was such. Later on, he shifted tc travel after completing elsewhere. His life to his practice was his dedice r terest arship W at! . a close friend's meetings of artist t He publishes -_ of books and treat j those that talked about practical sk 1s a which would be useful to other art ftsme are . M y perspective and human proporti t ks were writte the first-per ula format, practical in the way it was writte Ww pported by trations. It alse helped that his illustrations were laid out opposite the text tt t. Although he ins were still being he suggested to hen ca was caught between the time w his readers that his was merely recommen to go about it, then one should depart from wha! 1a t if they found a better way t he had learned. of artisans became prevalent in nit skewed, the culture period. Formerly done Although the timeline !s a t the Philippines as well, particularly during the Spanish colonial with the spirit of the communal and the everyday, patronship changed the way art was us and secular art, wherein the existence perceived. This was both the case for religio' of artisans proved to be of immense use. !t was through mimesis or copying that artisans first learned to depict religious images and scenes Friars, being non-artists id use. During the propagation of themselves, provided the references that artists coul the faith, Spanish friars commissioned a lot of artisans to carve, paint, and engrave images for churches and public sites. Each locality had a characterizing style or 61 “| veeART APPRECIATION : feature in the way their depictions were made; the manner in ae Boholano arti would paint saints and scenes were different from those of Rizal or in Laguna, " other Baroque churches that benefitted from the talents of Ue] Spanish Colon churches were also lined with frescos and ceiling paintings, with a number Of the, undergoing restoration in the early 1900s. Project Kisame is a collective endeay, 4 amongst enthusiasts and advocates who aimed to promote this ot form throu documentation, engagement, and appreciation of surviving ceiling paintings jn than 60 churches in the Philippines. Technology and heritage conservation occy; substantial part of this project. Morg Pied a : CVT) Figure 42. Details of the ceiling of the Church of the Most Holy Trinity (Loay, Boho! signatures of some of the artists who worked for the res! between 1922 to1927. Photo courtesy of Joel Ald ). This showcases the toration of the ceiling paintings jor/Project Kisame (2012)One example of a Spanish architecture that has been documented 16 the Che of the Most Holy Trinity in Loay, Bohol. Built in 1422, the calling paintings were rendered trompe l'oeil style depicting biblical scenes. In 2004, it becarne a Nationa Historical Landmark. It was therefore unfortunate that this church was one Of howe heavily damaged during the devastating earthquake that rattled Bohol in 701% fhe only section of the structure that remained erected was the bell taver Although @ is but a fragment of the real thing, the photos taken by Project Kisame wore ate document the beauty of the ceiling paintings prior to its destruction From the church, the next patrons of the arts were the than new olite, the Iustrades or the middle class, along with foreign guests who wanted souvenirs to tare along Hr them. In the previous chapter, it was mentioned that portrait paintings becarie 4 fad But looking closer at the paintings will reveal the specificity of the style in which (hey were painted. Two other important genres for painting at that time were the tivas del pais and letras y figuras. The former was watercolor paintings that showcased the different local inhabitants of the country in different garbs, and clues to their o~upaton and status; while the latter combined the principle of fipos del pais and incorporated & as a means to illustrate the letters of one's name or surname One key example that illustrated the systernatization of art instruction 4 combination of sorts of the guild and the art school-was the establishirnent Darrian Domingo of the Academia de Dibujo. Known as the best tipos del pais painter, thie school specialized in teaching the miniaturismo style of painting along with the tenets of classical European painting. Eventually, other schools emerged teaching other genres such as bodegones (still life) and paisajes (landscape). The Artist and His Studio Moving back to Europe, the big shift that propelled the evolution of the pivotal role of the artist in the arts started during the Middle Ages up to the Renaissance period. Most pivotal developments included the transformation of the crafteman to an artist or an independent artist; the widespread patronization of secular art (alongside the continuous production of works with religious subjects), and the assertion of cognition, the will, and individuality. Before the Renaissance Period, artworks were left unsigned. Artists claiming authorship for their works by affizing their mark onto the surfaces of their paintings were a big milestone in the history of the artist. Combined, these resulted in a wider variety of artworks, not just in form, but more so in style and technique. The site that saw this shift was a very personal space for the artist himself, which is the studio. 63 ga aFigure 43, James Abbott McNeill Whistler, “Artist's St wove paper Gift of M nk on off-while 1 Museum of Aft ret C. Buell, Helen L. King, and Sybil A 7 Today, artist studios have been a place of interest for the public. It is interesting to see and learn where creativity manifests itself especially since an artist's studio is an extension of the artist himself. The studio model da back from the Renaissanca| Therein, artists flexed their relationship with their patron as a site where negotiations and works were made. There were those whose work stations were segmented into two, the studiolo and the bottega; the latter is where the work usually happened. Apprentices studied under masters, assisting with menial tasks or the preparation o the painting surfaces. In the Seventeenth century, these demarcations became 10s@ eventually merging together. This was specially true with artists who explored painting techniques whose long process can be described by cycles of mixing, layer and drying of paint. This format remained throughout the latter part of the 1800s.UNIT I: INTRODUCTION TO ART APPRECIATION The beginnings of Industrial Revolution had an interesting ramification for artists. Acompendium of events released the artists from the limitations that affected the way in which they produced their works. These included the availability and portability of materials (i.e., foldable easels and paint in tubes) and the reliance on the wealthy patrons to place a commission. More painters enjoyed painting on their own behalf, creating works they wanted to create. It was during this time that a host of styles developed side-by-side, allowing artists to fully grasp the potential of artistic license, with minimal (to no) consideration for the prevailing tastes and stylistic preferences. During the latter part of the 1800s, artists began to question the merits of stringent artistic training and education, but it was during the 1900s that art was truly liberated from the traditions of the past. Perhaps, it was then that artists found freedom to articulate their distinct aesthetic way of creative production. Other Players in the World of Art e Manager@ Studio Assistant @ Studio Manager @ Collector @ Art Fair Director y ant A et @ Art Hang's +js@ Gallery Director @ Galleg’‘AWAGVisor @ Curator @ Critic @ Museum Press officer @ Museum B@rdupeatbEducator @ Museum director /440858fb-4b4b-4960-8b72-17211067e0ec under Creative Commons License hntps-igraphconmons.conaraphs aie Attribution-ShareAlike 4.0 Intemational Figure 44. Prominent Roles in the Art World with Their Mandatory Relationships The terrain in which the artist traverses is becoming increasingly complex. In the last century, some of the roles that have been existent since the beginning of art history have been properly dealt with—ascribed with a name—and legitimized into a sophisticated network of relationships and exchanges. This network is what we call the art world. 65By Mieffo PenttindfCC BY 2.0 rs en coe ee ARM vy at eal 2 Figure 45. Exhibition opening of "Arctic Hysteria: New Art from Finland’ (2009, Helsinki, Finland), In Howard S. Becker's Art Worlds (1982), he asserted that “all artistic work, like all human activity, involves the joint activity of a number, often a large number, of people. Through their cooperation, the artwork we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation. The forms of cooperation may be ephemeral, but often become more or less routine; producing patterns of collective activity we can call an art world. The existence of art worlds, as well as the way their existence affects both the production and consumption of artworks, suggests a sociological approach to the arts. It is not an approach that produces aesthetic judgments; although that is a task many sociologists of art have set for themselves.” There is an assumption that an artist works in solitary; that the only time the external world is allowed in would be when the work is displayed and when in circulation. This would necessitate the seemingly central position that thé artist enjoys in the grand scheme of art experience. Although a popular opinion still, has considerably waned, with the emergence of another art player as a super power the curator. But the task at hand is not to christen a specific group of people in the art world a8 its focus. What must be recognized is that, as Becker contended, there are numerous people who either work in consent or dissension, and in doing so, continuously (rey define, (in)validate, maintain (or abolish), reproduce, and circulate the “cultural category 66of art, and to iciia's ticker of the entire society in the legitimacy of the art Pier lcamipriced ct inal ok 2013). The terrain where artis distributed is a global galleries, art spaces, a ‘i uals, groups, and institutions such as schools, museums, MioRedions. The ee mee oe houses, and other commercial market platforms, and ocuinovoninely onitd pect is ney important because this implies that the art world Be Siessicnalized ae sentiments, end aesthetic values, but also on skills that Bearitivet oictiorn a rati ied, and more importantly, monetized. An example of a ee te nei ere clreren’ players in what we call an art world can engage, . ir art muscles, is the international art fair like the Art Basel in Hong Kong. Eyieeeofomcr Figure 46. Art Basel in Hong Kong (2015) with the complexity of the art world, players are no longer limited to those who undertook formal instruction in either (or both) production and/or study of art. Take for instance administrative or managerial roles, both of which can exist in either institutional or non-institutional scenarios. These roles may be broken down to working boards (board of trustees); directors and assistant directors; managing curators; and other posts whose interest is the management and operations of museums, galleries and other art spaces. For independent artists, those outside the wing of a gallery as a “stable artist,” sometimes require the assistance of an artist manager in order to manage their career and sometimes to help them in promoting themselves to the art worid as well. It is important to note that 67A curator, on the other hand, is one of the most elusive of roles to pin down Institutional curators are typically affiliated with museums and galleries, whijg independent or freelance curators have the leeway to move around various Projects, | platforms, and art spaces in a multiplicity of terms. Generally, the role of the curato, ! is more of the interpretation and development of the artwork(s) or the Collection(s) through establishing the significance, relationship, and relevance of these materials in isolation and/or as part of a wider narrative. Some of the roles expected of curator. are the ability to research and write, as an arbiter of design and layout, and deciding for the display and hanging of materials for exhibition. If curators are the hardest to define, it is buyers and collectors who are Probably the easiest to qualify. Often they are construed as one and the same, but Separately taken, buyers are those who initially assess and survey the artwork that collectors are interested in. It is their role to oversee the sale of the artwork, on behalf of the Collector who may either be too busy or who would rather keep his identity hidden. Formerly ascribed with the term “patron,” buyers and collectors are those who acquire ang purchase artworks for a variety of reasons: for the appreciation and enjoyment of art; for the scholarship and education opportunity it may provide (donors of study collections); for safeguard and preservation of their posterity; for investment; for communicating a way of life/lifestyle; among others. These days, collectors are becoming more involveg well beyond extending their wallets. They have found another voice as an arbiter of taste. A collector who has established himself as someone who not only appreciates art but knows art, understands its behavior and patterns, becoming a key player in making or breaking an artist's career or shaping the course of a museum's collection (through pledges of support and donation). In addition, art dealers are those whose direct hand is in the distribution and circulation of the artworks through a variety of means, such as direct sales, through galleries, and the more recent player in the Philippines, auction houses. The knowledge and insight that art dealers are expected to have include a specialization in art form, style, medium, or period; market trends; and even the interrelationships of other key players in the art world who will benefit from the circulation and distribution of the artwork (or artist) he promotes. There are some overlaps in the way buyers, collectors, and dealers operate and behave. This is understandable, perhaps especially in the Philippines where delineation of roles is a bit ambiguous. There are many other roles that are in existent in the af world today, and there seems to be no stopping of the cropping up of new ones. Othe roles and their connectedness to others are roughly illustrated in Figure 44. As the art world is seen as a socio-economic network, it is important to note thé major difference between museums and galleries. These are the main institutions thd display, distribute, and circulate different artworks; however, they behave in differet ways. The most substantial demarcation that separates one from the other is tM 68ethics tha’ t admonishes aa museums from entering i RANE theans ig into the more market as #5 i radcaican: elie museums should involve themselves in inl oe a a os Pe ea ecation that museums are mandated to fulfill is the dis - oe sip We apa be the haNe and the appreciation of these objects ae fs Is a collection and a wider nar ible inclusion in exhibitions or informed by museum Tee ae ing (i.e., workshops, screenings, etc.) lectures, arily follow a linear progression. at the arts have an anarchic ential. The very reason why possible, 1s because there eptualize and execute principle that governs Production Process The process of creating an artwork does notnecess pt is the fact th One of the things that one must acce| sion to it, allowing it to fully harness its creative pot and movements were made terms of how to conc an there is nO guiding dimen: different art styles, periods, was a form of flexibility given to artists in their ideas into reality. But this does not me the general process of art production. essentiall ) preproduction, (2) production, and (3) artist always begin ith an idea that he wants to express OF It may no! fully formulated, and so some get the idea d other approach be explored to rtwork. This proce: course the preproduction ‘0 form, or may com f lightning. ly tripartite: qa s wi t necessarily be es may ss is of e as swift as 4 bolt o jal manipulation is already ction stage- The The process 'S postproduction The communicate with his audience. form of exposure, research, an jong before actually making the a stage The idea may take a while t wever, birth thei ction r ideas when materi sometimes seep in sic). Even tricky ely concerned with the harder to pull off. Some artworks n and 4 kind of conceptual art, may even be . ed only intuitio! while others ne and skilled execution, i it terial the manipulation of ma . ing the terials for the creation of the artwork Is “ oe ion OF the production stage. Either way materials a “ that inform the direction, quality, and the final most ia rawn-Ou! jon. Once an artwork is t, the roduction. © o tne 8h it will be © jated not only in the a eet always, em of the ees it be seen no variety of ways it enters into 2.9" i ina 3Sok rate tas sn sphere, inside the domain of museums, galleries, performance halls, theaters, ang other art spaces where interaction can take place. Take note, however, that approval enjoyment, or pleasure are not the sole reactions that an artist intends for his wo, ; Sometimes, it is repulsion, contempt, or even grief, which the artist hopes for, Eithe; way, it is intellectual and emotional reaction that is often the impetus for creating ap artwork. A message is almost always embedded in the artwork and it is the hope of the artist that his audience comes across it, or takes from it something that is his ang his alone. There are many aspects that go into postproduction. These may include allowin the artwork to set, tweaking the artwork, preparing the artwork for transport and display, and even the promotion and inclusion of the artwork in publications or discussions Medium and Technique Like what was previously mentioned, medium is one of the aspects of art that directly correlates with its composition and presumed finality of the artwork. Medium ig the mode of expression in which the concept, idea, or message is conveyed. It may be concrete or tangible, such as paintings, sculptures, monuments, and structures; or it may be ephemeral or something transient, such as a track (recording of sound), a film, Or @ performance. The appreciation or engagement with the artwork is also affected by the medium spatiotemporally. For concrete works, the objects physically manifest themselves for a prolonged or lasting period. For ephemeral works, on the other hand, it is durational. A chosen medium must not be expected to yield the same results. Giving two different artists the same exact material and the general qualifier of “painting,” the end product will still vary minimally or in an exponential scale. This is where technique comes in, as it is the reason why art history is described by a seemingly limitless example of works of art. The technique of the artwork shows the level of familiarity with the medium being manipulated. It alludes to the necessity of additional tools or implements (e.g., hammer and chisel may come in handy for sculptors), or consideration of time (e.g. behavior of different kinds of paint especially in drying time requirements), and the ‘specificity of the site of creation (e.g., indoor or outdoor production requirements). Engagement with Art The defining roles and nature of exhibitions have had an interesting evolution, changing alongside the demands of the society that Purports to partake in its display: In Anna Cline’s The Evolving Role of the Exhibition and Its Impact on Art and Culture ) (2012), she wrote that “exhibitions act as the catalyst of art and ideas to the public; they represent a way of displaying and contextualizing art that makes it relevant and 70— ectessiI to contemporary audiences. The art exhibition, by its nature, holds a mirror up i Society, reflecting its interests and concerns while at the same time challenging its Ideologies and preconceptions. Keeping art relevant to society and to a diverse audience at any given point in history is one of the main goals of the art exhibition and one of the reasons it is so important to the history of art. » Therefore, it is apparent that exhibitions are not only of import to artists who rely on its being, but more so to the varied audiences who get to see them. In Paula Marincola's What Makes a Great Exhibition? (2006), it reads that “exhibitions are strategically located at the nexus where artists, their work, the arts institution, and many different publics intersect.” This opportunity is singular, as most interactions in the art world are limited to two players at a time. Exhibitions create an opportunity in which the different roles in the art world get to meet, interact, and even enter into a discussion. One of the most common platforms to engage with the art is through exhibitions either at museums or galleries. Nowadays, there are other exhibition spaces that have opened up for artists to showcase their works. Often, one goes to a museum or a gallery, the white cube often renders everything peaceful and calm. However, the exhibition process is an intricate sequence of events made possible by multiple individuals and groups within and outside the artist and staff. Exhibitions may be long-term or permanent hangs, or it may be temporary or periodically changing. An artist may have a solo exhibition or may be included in a two-person showing or even a group exhibition. There are some instances when an artwork is a stand-alone or a site-specific work that renders its display under a slightly different structure or format. Aside from exhibitions, other opportunities for art engagement transpire in the classroom (instruction); studio visits; lectures, workshops, and other events that augment the exhibitions (programs); auction sales; art fairs, biennials, and triennials; and other larger showings of not only artworks but also where art personalities can flex their influence and authority. Publications are also a good way to introduce the artwork and opens it up for appreciation, critique, and analysis. Awards and Citations As with any organized endeavor, the arts and culture have entered into a phase in which another aspect of its practice can be realized. After an artist has spent considerable time in honing his skills, establishing the relevance of the body of his works, and even gaining respect from his colleagues in the art world, he may be considered or nominated for awards and citations. AIn history, support for the arts and culture is not limited to the allocation off Or patronship. One of the most common measures in which artists and other In producers are given incentives and honor for their work is through state-initiay given awards and citations. The two major awards given to artists in the Philipp) 4 the Orden ng Pambansang Alagad ng Sining (Order of National Artists) ang g. a Manlilikha ng Bayan (National Living Treasures Award). aad ni : The conferment of the Order of National Artists is the “highest national Te cogny given to Filipino individuals who have made significant contributions to the develop, Me of Philippine arts; namely, music, dance, theater, visual arts, literature, film, brog " arts, and architecture and allied arts. The order is jointly administered by the Na ‘ Commission for Culture and the Arts (NCCA) and the Cultural Center of the Philip ie (CCP) and conferred by the President of the Philippines upon recommendation oi institutions” (NCCA, 2015). The very first recipient of this award was painter Fernang. Amorsolo, who was touted as the “Grand Old Man of Philippine Art.” He was the a awardee in the year 1972, a National Artist for Visual Arts. Figure 47. Emblem of the Order of National Artists of the Philippines At present, there are 66 awardees of this prestigious honor across different at forms. Some of them were given the award posthumously, while others were fortunate enough to receive the award themselves. Some of the honors and privileges that@ national artist awardee receives are the following: (1) the rank and title, as proclaim 4 by the President of the Philippines; (2) a medallion or insignia and a citation that wil be read during the conferment; (3) cash awards and a host of benefits (monthly ite pension, medical, and hospitalization benefits, life insurance coverage); (4) @ state funeral and burial at the Libingan ng Mga Bayani (Heroes’ Cemetery); and (5) a place of honor or designated area during national state functions, along with recognition or acknowledgment at cultural events. The most recent conferment was in 2016. 72i Philippines [Public co via Wikimedia Commons} Figure 48. Conferment of the 2009 and 2014 Order of National Artists Award (2009 and 2014) led by President Benigno Aquino Ill with the recipients (Alice Reyes, Cirilio Bautista, Ramon Santos Representatives of deceased/absent recipients also present. Aquino mentioned 9 National Artists on his speech.) Photo courtesy of the Official Gazette of the Republic of the Philippines. The Gawad sa Manlilikha ng Bayan or the National Living Treasures Award was created in 1992 under the Republic Act No. 7355. Also under the jurisdiction of the National Commission for Culture and the Arts (NCCA), the NCCA (2015) “through the Gawad sa Manlilikha ng Bayan Committee and an Ad Hoc Panel of Experts, conducts the search for the finest traditional artists of the land, adopts a program that will ensure the transfer of their skills to others and undertakes measures to promote a genuine appreciation of and instill pride among our people about the genius of the Manlilikha ng Bayan.” It was first conferred to three outstanding artists in music and poetry back in 1993. They are Ginaw Bilog, a master of the Ambahan poetry; Masino Intaray, a master of various traditional musical instruments of the Palawan people; and Samaon Sulaiman, a master of the kutyapi and other instruments. first batch of recipients of GAMABA: Ginaw Bilog, Masino Intaray, ‘and Samaon Sulaiman. Photos courtesy of NCCA. Figure 49. The 78Figure 50. The medal given to the recipients of the distinction Gawad sa Manilikha ng Bayan (GAMABA). Photo courtesy of NCCA. The recipients of the GAMABA are sought under the qualification of a “Manlilikha ng Bayan” who is a “citizen engaged in any traditional art uniquely Filipino whose distinctive skills have reached such a high level of technical and artistic excellence and have been passed on to and widely practiced by the present generation in his/ her community with the same degree of technical and artistic competence” (NCCA, 2015). This artists’ practice may fall under the following categories: folk, architecture, maritime transport, weaving, carving, performing arts, literature, graphic and plastic arts, ornament, textile or fiber art, pottery and other artistic expressions of traditional culture. Some of the incentives accorded to the awardee are the following: (1) a specially designed gold medallion; (2) an initial grant of P100,000 and a P10,000 monthly stipend for life (this was later increased to P14,000); (3) benefits such as a maximum cumulative amount of P750,000 medical and hospitalization benefits; and (4) funeral assistance or tribute fit for a National Living Treasure. Let’s Wrap It Up The evolution of the artist throughout history is one of the most interesting progressions in the affairs of man. From the banalities of the works he created to assist and inform the every day, he was caught in the midst of prevailing and shifting ideologies, and utilized the power of the creativity and imagination in attempt to grapple with the world around him. There is much responsibility and expectation ascribed to 74