Art Criticism: Boon or Bane? (Part IV)

Manila Bulletin, January 23, 2012 | Go to article overview

Art Criticism: Boon or Bane? (Part IV)


MANILA, Philippines - Sixth, ideological. Politics, meaning "factional scheming for power" is the dominant content of this paradigm.

The First Quarter Storm that shook and almost shattered the foundation of Philippine society at the onset of the 1970s, produced paintings, sculptures and what have you, all burning with incendiary slogans. "Makibaka, huwag matakot!" "Marcos Hitler!" without any punctuation mark in-between. "Marcos, tuta ng imperyalistang kano!" Clenched fists struggling to bolt free from massive metal chains, left or right arm brandishing a menacing armalite, infuriated faces replete with burning/bulging eyes and wide-open mouths spewing out muted curses - these became the visual foci of paintings. Two kinds of art emerged: peryodikit and protest art.

Only in the Philippines was peryodikit seen. The day's newspapers were plastered on public and private walls, fences, doors, lampposts, pavements, wherever screaming slogans were painted with red enamel paint. There was no more delineation among peryodikit, painting, poster, billboard and streamer. The message of Makibaka was all over the place. But there was no alternative position presented. Just "makibaka, huwag matakot."

Some artists, more naughty than anything, tickled and taunted the then powers-that-be. They formed themselves into some kind of a cadre, and called themselves NPA. This had nothing to do with the dreaded NPA. For the NPA of the artists was the acronym for Nagkakaisang Progresibong Artista. The members were armed with paint brushes, spatula, chisels, hammers and other carving tools. The artists came face to face with reality that made them speechless: amid the turbulent times when they were taunting/fighting the Establishment, their creative freedom was not curtailed.

When martial law was declared, some artists took the first available plane out. Others wanted to go underground. Not a few nervously waited for the "invitation" from the military that never came.

Fast forward. In came the so-called 1986 February Revolution. Many artists whom I interviewed said it was a "picnic." They must have expected a bloodbath. What they did not know, as neither of us Filipinos knew, was that the "picnic" was shaping a new lexicon in world revolution: People Power.

Apropos to this revolution should have been the revolution of the mind. A revolution of aesthetics. And of course, an ideological revolution finally freed from outside models and immersed on what is autochthonous. We had our brief world exposure of fame and glory. After that, back to landscapes, still-lifes, etc.

Seventh, feminism. This paradigm may have marked its tenth period in 1979 when a certain Judy Chicago did a multi-media installation titled 'The Dinner Party.' This kind of attitude reached the Philippines in no time at all.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Art Criticism: Boon or Bane? (Part IV)
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.