1. +

2. + “True art is a product of its society. It reflects the
human condition of its time and aids in the
awakening of social consciousness.”
- Rachel Mayo
The Essence of things (2012)

3. Realism begets Social
Realism
• REALISM • SOCIAL REALISM
• How the upper-class and • Social realists chose:
aristocracy perceived the world • Everyday happenings
• Very intellectual (Scientific, • Current events
empirical, and democratic) • Social relaionships
• Western oriented • Interaction and disparity of
social classes
+
• AIMED to effect social change
through Sociopolitical pieces
• Works that portrayed the truths
of society
Lumbay, by Pablo Baen Santos

4. +
Background
Social Realism in the 70s and 80s

5. +
Struggle for Radical
Change
• Rizal and the Illustrados
• Nationalist struggle began in the
19th CE
• Source of inspiration
• The artist as the nationalist
• Martial law from 1972-1986
• Brought about different kinds of
art like:
• People’s Art/Art for the Masses
• Protest Art/ Commited Art

6. +
Kaisahan
A Group of Young Artists

7. Kaisahan
“Kaisahan Social Realist Group”
Formed in 1976
Thisgroup coined “Social
Realism” for their movement
13 Members:
Papo de Asis
Orlando Castillo
Jose Cuaresma
Antipas Delovato
+ Edgar TalusanFernandez
Neil Doloricon
Charles Funk
RenatoHabulan
Albert Himenez
Al Manrique
Jose Tence Ruiz
Pablo Baen Santos
Vin Toledo
Eventuallybecame more political and
held workshops, lectures, and group
discussions on political art

8. KaisahanPriciple
s
NATIONALIST ART
National art was a quest for
identity, where the artist was
the nationalist
An opposition to Western-
oriented culture
Art for?
For the people, the massa
+ Collective
experience that a
great number could relate to
Alternative or Oppositional Art
Artas a revitalizing force to
restore meaning to the
people’s lives
Going
against elitist and
commercialized art
Alternative art

9. KaisahanPriciple
s
Reflection Theory
•Shows the true conditions
and problems in our society
•“whatis to be”- utopian
aspect of social realism
•Form and Content
•Strong in content
•Yet
not compromising
+ medium and method
•Artistic Style
•No limitation to a certain style
•Experimentation and vision,
but not forgoing
communication

10. KaisahanPriciple
s
Exposure and Dissemination
Alternative
space to reach a
wider audience
Traveling exhibits or art
caravans, workshops for
members, nonmembers and
young artists
Development of popular
+ media such as murals,
posters, cartoons, and comics
Art and Life
Arthas a nonverbal impact
on social change

11. + First
Generation of
Social Realists

12. Pablo Baen
Santos
•Born in1943
•Fine Arts Graduate from the University
of the Philippines
•Recipient of the 13 Artists award given
by the Cultural Center of The Philippines
in 1990
•Considered as one of the provocateurs
of social realism
+
Krista (Female Christ)

13. +
AngBagongKristo BabaingWalangKibo

14. +
Pagnanaisni Ina

15. Edgar Fernandez
•Born in 1954
•Finished Bachelor of Fine Arts at
the Philippine Women’s University
•Husband to Nena Fernandez,
mother of his two children Malaya
and Diwa
•“Nuonangbatayanngpaglilikha
ay
makabayan, makatotohanan and
+ makabuluhan.”
Clockwise:
MapayapangPamamalakaya (Peaceful Fishing)
Unfinished work
MartsangBayanparasaKalayaan, katarungan,
at Kapayapaan

16. +
Noon, Ngayon, at Pangarap

17. Antipas Delovato
•Born in Iloilo city
•Studied at the University of San
Agustin, Iloilo City and majored in
Fine Arts at the Philippine Women’s
University College of Fine Arts and
Music in Manila
•Recognized with the conferment of
the Cultural Center of the
Philippines 13 Artists Award
+
•Selected to paint the official
portrait of then Philippine President
Corazon Aquino.
ItaksaPusoniMang Juan

18. Liwanag at Dilim
+
Pag-ahon

19. Timura
+
Haguipit

20. Orlando Castillo
•Was imprisoned for his public art
+
Clockwise:
15 foot tall mural for Labor day in Mindiola
Justice Under Martial Law
Different Forms of Torture: Tribute to The
Polotical Prisoner

21. Al Manrique
• Born: 1949; Died: 2006
•Graduated with a degree in
architecture from the University of
Santo Tomas in 1970
•His works are metaphors of the
struggle of the workers and the
urban poor
+
Clockwise:
IyonIsa Pang Kamay, Dali!
Sketch of workers, Untitled
“Untitled”

22. +
BuongBalikat

23. RenatoHabulan
+
Clockwise:
Untitled
Impit
KaayusansaAguilangPananaw

24. +
Kubakob

25. +
Liwanag 1 Liwanag 2

26. Jose Tence
Ruiz
•Born 1958 in Sta. Mesa, Manila
•Graduated cum laude with a Fine
Arts degree from the University of
Sto. Tomas in 1979
•Well-known for his wry and
compelling political Cartoons
•Received the CCP 13 Artists
Award
+
Clockwise:
Inhuman Wrongs
BungeeFixion According to Sam Raimi
Boxing with the PCO: Macoy vs. The CCP

27. +
Miting de Atrazo

28. Neil Doloricon
+
Clockwise:
InagngKalikasan
Doloricon-Self
Welga

29. +
TutubingBakal Kalabaw at AngTagak

30. Papo de Asis
•Bron on Dec 16, 1949; died of a
stroke in 2005
•Immigrated to the US in 1990, but
continued in the arts and activist
community
+
Clockwise:
Christedom
Neo-Kolonyal
Insurrection

31. +
In Memory Of Lupa, Kabuhayan, Katarungan

32. +
Themes

33. Themes
•Social injustices
•Struggles for independence
•Agrarian problems
•Foreign economic domination
•Export labor
•Exploitation of women and children
•Ecological damage
•3 basic evils of society: feudalism,
bureaucrat capitalism, and imperialism
•Militarization and human rights violations
+ •growth of the mass movement
•Vision of a new order
•SOCIOPOLITICAL, HITORICAL & FOLK-
IMAGERY
•“Folk”:
relating to the beliefs and opinions of
ordinary people.

34. + Aimsof The Social
Realists

35. What were they painting for?
•To express their aspirations of genuine freedom
•Visual expression of their opinions and views
regarding the present social milieus
•Prompting viewers to engage in society ,
mediated by the artist’s work.
•Among them were
•Activists
•Communists
•Feminists
+

36. +
Forms
Paintings
Prints
Comics
Editorial Cartoons
Illustrations
Posters
Portable Murals for rallies
One of the more popular forms
was the wall newspaper,
consisting of slogans with visuals
done on bands of masking tape,
which could be posted on walls
and concrete road islands.
Junyee, “Mate In Four”

37. The declarative – reflection of society
Theinterrogative – elicited deconstructive questions, exposing
myths of traditional privilege and heirarchy
Andthe imperative modes- art as a major influence or agent of
change
According to Arnold Hauser, artists express themselves
…through ideologies
…in reaction to ideologies
… in conformity to/rebellion against ideologies
+ 3 Modes of Socail Realist Art

38. +
Sources
 http://jonathanbeller.files.wordpress.com/2009/06/aquiring_eye
s_layout.pd
 fhttp://www.angelfire.com/bc2/Egai/social.html
 http://www.slideshare.net/nadya_eos/social-realism-in-the-
philippines
 http://journalism103.wordpress.com/2012/10/15/cultural-review-
compelling-visual-journey-to-the-martial-law-period/
 http://rachelmayo.blogspot.com/2012_09_01_archive.html
 http://www.manilaartblogger.com/2012/08/01/at-the-ccp-
looking-back-at-martial-law/
 http://www.boysenknoxoutproject.com/artworks_jose.do