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The document discusses the different contexts that affect the production and reception of artworks. These contexts include the artist's background, nature as a source of inspiration, everyday life, society, politics and economy, and the mode of reception. Specifically, it provides examples of how an artist's gender and experiences, the natural environment, traditional Philippine art as part of daily life, colonial history, and exhibiting art in museums can provide important context for understanding artworks.
The document discusses the different contexts that affect the production and reception of artworks. These contexts include the artist's background, nature as a source of inspiration, everyday life, society, politics and economy, and the mode of reception. Specifically, it provides examples of how an artist's gender and experiences, the natural environment, traditional Philippine art as part of daily life, colonial history, and exhibiting art in museums can provide important context for understanding artworks.
The document discusses the different contexts that affect the production and reception of artworks. These contexts include the artist's background, nature as a source of inspiration, everyday life, society, politics and economy, and the mode of reception. Specifically, it provides examples of how an artist's gender and experiences, the natural environment, traditional Philippine art as part of daily life, colonial history, and exhibiting art in museums can provide important context for understanding artworks.
circumstances, and occurrences affecting production and reception or audience response to an artwork. It is a set of background information that enables us to formulate meanings about works of art and note how context affects form. DIFFERENT CONTEXT OF ART a. Artist’s Background
■ The artist’s age, gender, culture, economic
conditions, social environment, and disposition affect art production. The mode of production, which encompasses the kind of materials accessible to the artists as well as the conditions surrounding labor, also hope the work produced by the artist. • Julie Lluch, an artist who hails from Iligan City, would often emphasize her female identity and personal experiences in many of her terracotta works. In Cutting Onions Always Make Me Cry, 1988, Lluch’s self-portrait presents cooking --- a role associated with women in the home --- as oppressive and unpleasant. b. Nature
■ Nature can be seen as a
source of inspiration an a wellspring of materials for art production. The t’nalak for example uses abaca fibers stripped from the trunk of the banana tree, and colored with re and black dyes naturally extracted from roots and leaves of plants. Using a backstrap loom, the weaver produces t’nalak designs including stylized forms inspired by nature: kleng (crab), ‘gmayaw (bird in flight), tofi (frog), and sawo (snake skin). c. Everyday Life
■ Philippine traditional art has always
been an integral part of daily life. Its significance lies not only in its aesthetics appearance but also in its functionality and its value to the community that produced it. d. Society, Politics and Economy, and History ■ Changes in the society, politics and economy affect artists, the work that they do, and the structures that support their production. • The painting of National Artist Benedicto Cabrera titled Brown Brother’s Burden, ca. 1970, approximates the look of an old photograph which presents an aspect of colonial history from the gaze of the colonized. If we were to look at the jeepney on the other hand, we will see that its style of ornamentation, reminiscent of folk characteristics, has Appropriation – technique of transforming existing materials through the juxtaposition of elements taken from one context and placing these in another to present alternative meanings, structure, and composition to an art work. e. Mode of Reception
■ Art is encountered via the museum;
arranged and categorized before a public for the purpose of education and leisure. Owning to its longstanding history as an institution that exhibits arts or other objects of value, we automatically assume that what is shown is of value.