ARTISTS A N D

ARTISANS
 THE ARTIST AND HIS STUDIO

 Artists claiming authorship for their works by affixing 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.
ARTIST STUDIOS

 The extension of the artist himself. Its model dates back from the Renaissance.

 Therein, artists flexed their relationship with their patron as a site where
negotiations and works were made. There were those whose work stations were
divided into two, the studiolo and the bottega. The latter is where the work usually
happened.
ARTIST STUDIOS

 On the other hand, in France, academies and art salons became popular as they did
not only support the production of art but also the discourse around them.

 During the beginning of Industrial Revolution, a compendium of events release the

artists from the limitations that affected the way in which they produced their works
which 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.
ARTIST STUDIOS

 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. It was then that the artists found freedom
to articulate their distinct aesthetic way of creative production.
OTHER PLAYERS IN THE WORLD OF ART

 In the last century, some of the roles that have been existent since the beginning of
art history have been properly dealt with and legitimized into a sophisticated
network of relationships and exchanges.This network refers to the art world.

 In Howard 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……..” This means that there are numerous people who either work in
consent or dissension, and in doing so, continuously (re)define, (in)validate, maintain
(or abolish), reproduce or circulate the “cultural category of art”.
 Howard Becker also stated that “ The work always show signs of cooperation. The forms of
cooperation may be ephemeral (lasts in a short period of time), but often become more or
less routine; producing patterns of collective activity we can call an art world.”

 Commercial market platforms are very important because this implies that the art
world does not only rely on ideas, sentiments, and aesthetic values, but also on skills that
are professionalized, stratified, and more importantly, monetized. Example of multilevel
platform where different players in art world is the international art fair like the Art Basel
in Hong Kong.
ADMINISTRATIVE AND MANAGERIAL ROLES

 In complexity of art world, players are no longer limited to those who undertook
formal instruction in either or both production and/or study of art. 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; directors and assistant
directors; managing curators; and other posts whose interest is the management and
operations of museums, galleries and other art spaces.
CURATORS

 A curator is one of the most elusive of roles to pin down. Institutional curators
are typically affiliated with museums and galleries while independent or freelance
curators have the leeway to move around various projects, platforms, art spaces in
the multiplicity of terms.

 The role of a curator is more of the interpretation and development of the artwork
or the collection through establishing the significance, relationship and relevance of
these materials. Some 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.
BUYERS AND COLLECTORS

 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.

 Collectors may either be too busy or would rather keep his identity hidden. These
days, collectors are becoming more well beyond extending their wallets. A collector
who establishes himself as someone who not only appreciates arts 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 donations).
ART DEALERS

 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.

 They are expected to have knowledge and insight including 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 he promotes.
MUSEUMS VS. GALLERIES

 Museums and galleries are the main institutions that display, distribute, and circulate
different artworks; however they behave in different ways. Museums are mandated
to display artworks for the education of the public and the appreciation of these
objects only. Galleries on the other hand display artworks for the purpose of selling
art.
PRODUCTION PROCESS

 The process is essentially tripartite: 1. preproduction, 2. production,

and 3. postproduction.

 Preproduction stage begins when the artist has an idea that he wants to express
or communicate with audience.

 Production stage occurs when there is an execution of ideas of arts from the
preproduction stage. Execution of art may take a variety of forms such as
painting, sculpture, tapestry, photograph, film, a routine (dance), or a track or
composition (music).
PRODUCTION PROCESS

 Postproductionstage is the most drawn-out. Once an artwork is finished, it will then

be decided on how it will be circulated not only in the art world but the may publics.
Often, it enters into a new sphere, inside the domain of museums, galleries,
performance halls, theaters and other art spaces where interaction can take place.
MEDIUM AND TECHNIQUE

 Medium is one of the aspects of art that directly correlates with its composition
and presumed finality of the artwork. It is the mode of expression in which the
concept, idea or message is conveyed. It maybe concrete or tangible, such as
paintings, sculptures, monuments and structures; or it maybe ephemeral or
something transient, such as a track , a film or a performance.

 Technique of the artwork shows the level of familiarity with the medium being
manipulated. It alludes to the necessity of additional tools or implements (hammer
and chisel) or consideration of time and the specificity of the site of creation.
ENGAGEMENT WITH ART

 InAnna Cline’s “The Evolving Role of the Exhibition and Its Impact on Art
and Culture” wrote that “exhibitions acts as the catalyst of art and ideas to the
public; they represent a way of displaying and contextualizing art that makes it
relevant and accessible to contemporary audiences……..” 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.
ENGAGEMENT WITH ART

 In Paula Marincola’s What Makes a Great Exhibition? (2006), it reads that

“exhibitions are strategically located at nexus where artists, their work, the
arts institution, and many different publics intersect.”

 Exhibition creates an opportunity in which the different roles in the art world get
to meet, interact, and even enter into a discussion.
ENGAGEMENT WITH ART

 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.

 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.

AWARDS AND CITATIONS

 One of the most common measures in which artists and other creative producers
are given incentives and honor for their work is through state-initiated and given
awards and citations.

 The two major awards given to artists in the Philippines are the Orden ng
Pambansang Alagad ng Sining (Order of National Artists) and Gawad sa
Manlilikha ng Bayan (National Living Treasures Awards).
ORDER OF NATIONAL ARTISTS

 It is the highest national recognition given to Filipino individuals who have made
significant contributions to the development of Philippine Arts; namely, music, dance,
theater, visual arts, literature, film, broadcast arts and architecture and allied arts.

 It is jointly administered by the National Commission for Culture and the Arts
(NCAA) and the Cultural Center of the Philippines (CCP) and conferred by the
President of the Philippines upon recommendation by both institutions.
ORDER OF NATIONAL ARTISTS

 Fernando Amorsolo was the first recipient of this award. He is a painter who
was touted as the “Grand Old Man of Philippine Art” and was the sole awardee in
the year 1972, a National Artist for Visual Arts.

 Some of the honors and privileges that a national artists awardee receives are the
following: 1) the rank and title 2)a medallion or insignia and a citation that will be read
during the conferment; 3). Cash awards and a host benefits; 4.) a state funeral and burial
at the Libingan ng mga Bayani; and 5.) a place of honor and designated area during
National state functions along with recognition or acknowledgement at cultural events.
GAWAD SA MANLILIKHA NG BAYAN (GAMABA)

 It was created in 1992 under the RA No. 7355. Also under the jurisdiction of the
National Commission for Culture and the Arts (NCAA).

 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.
GAWAD SA MANLILIKHA NG BAYAN (GAMABA)

 The recipients’ 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 1.) a specially designed
gold medallion 2.) an initial grant of P100,000 and P10,000 monthly stipend for life
(later increased in P14,000 3.)benefits such as maximum cumulative amount of
P750,000 medical and hospitalization benefits; and 4.) funeral assistance or tribute
fir for a National Living Treasure.