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Conarts

Total questions: 59

Worksheet time: 30mins

Name
Class
Date
1.

something that is created using imagination and skill and that expresses idea or feelings

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

2.

generally refers to art being created now

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

3.

defines contemporary art as related to this current event period in art history, and refers to art that is new, recent, modern or pertains to the present moment.

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

4.

regards contemporary art as a specific or stage in the story of the evolution of arts, referring to a specific location in space and time.

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

5.

”art produced in our era or lifetime”

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

6.

old works of art were once contemporary in their own time

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

7.

This view establishes a timeline in which works of art belong to a particular historical period. In this case, Contemporary art is considered to belong to the “contemporary period” which is a period in history following the end of modernism.

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

8.

derived from the Latin prefix con, which means “together” or “with, plus tempus, which means “time”

a)

art

b)

contemporary

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

9.

Arts that reflect the current situations, issues, event in the present time.

a)

art

b)

contemporary arts

c)

CHRONOLOGICAL VIEW

d)

HISTORICAL VIEW

10.

After this was a shift of political, cultural, and economic power from Europe to the United States which marked the end of European colonialism

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

11.

This is adhered to by most museums when defining their collections of contemporary artworks

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

12.

This is the most commonly used by art critics due to the emergence at this time of a new generation of artists who were overturning the modernist practice.

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

13.

From this vantage point, this era is taken as a reference point of the change-over from Modern to contemporary.

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

14.

It was an era of repression and censorship of artistic expressions.

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

15.

Marcos state exercised control over the print media, radio, television, schools and the arts through various presidential decrees and established a network of cultural and art institutions governed by his wife, Imelda.

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

16.

Art at this point oriented many young artists to WESTERN art also, the detriment of local artists. Social realism flourished which is a movement sought to expose the real condition of Philippine society and used art to transform it.

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

17.

Contemporary artists felt the need to redefine our social and racial identity in the post-EDSA social context.

a)

ART PRODUCED AFTER 1945

b)

ART PRODUCED SINCE 1960S

c)

1970s

d)

1986 (EDSA People Power Revolution), the end of Martial Law brought the Philippines into Contemporary Period.

18.

Contemporary art emerged in the country due to ___ factors

a)

1

b)

2

c)

3

d)

4

19.

Contemporary art emerged in the country due to three factors

a)

The return of the democracy under the Aquino government

b)

The improved economic and political environment in the country, particularly in the regions

c)

The advent of new technologies and free access to media.

d)

Works of contemporary artists provide not only new art and ideas but also new strategies and tactics for producing art and engaging the artistic processes.

20.

To be new is to be modern; the new is progressive. Works of contemporary artists provide not only new art and ideas but also new strategies and tactics for producing art and engaging the artistic processes.

a)

Contemporary Art as a Breaking of Norms

b)

CONTEMPORARY ART AS A CRITIQUE OF SOCIETY

21.

an important preoccupation in the world of contemporary art

a)

Contemporary Art as a Breaking of Norms

b)

CONTEMPORARY ART AS A CRITIQUE OF SOCIETY

c)

APPROPRIATION

22.

It is the practice of creating a new work by taking a pre-existing image or work from another context- art history, media, advertising and combining the borrowed image with new ones.

a)

Contemporary Art as a Breaking of Norms

b)

CONTEMPORARY ART AS A CRITIQUE OF SOCIETY

c)

APPROPRIATION

23.

is something that can be passed from one generation to the next, can be conserved or inherited and has historic or cultural value

a)

heritage

b)

PHYSICAL OBJECTS AND PLACES OF HERITAGE

c)

PRACTICES OF HERITAGE

24.

old buildings, paintings, public art. Ex. Teatro Porvernir- an old ‘sabungan’ or cockpit arena that was transformed into a community theatre in 2015. Initiated by theatre director Lutgardo Labad.

a)

heritage

b)

PHYSICAL OBJECTS AND PLACES OF HERITAGE

c)

PRACTICES OF HERITAGE

25.

oral traditions, dance, fiestas, etc. Ex. Mandala Art Festivalheld every May since 2012 in Pulilan,Bulacan. It is a competition on the making of Painted miniature, paper mache carabaos, carabao painting and wall mural painting

a)

heritage

b)

PHYSICAL OBJECTS AND PLACES OF HERITAGE

c)

PRACTICES OF HERITAGE

26.

The growing speed of technology, the transfer of ideas, capital, information, and culture around the globe provide the backdrop for the diversity and rapid transformation in contemporary art.

a)

Contemporary Art as a Breaking of Norms

b)

CONTEMPORARY ART AS A CRITIQUE OF SOCIETY

c)

APPROPRIATION

27.

Venues for contemporary artworks are no longer confined within the strict boundaries of the museums and gallery spaces.

a)

Contemporary Art as a Breaking of Norms

b)

CONTEMPORARY ART AS A CRITIQUE OF SOCIETY

c)

APPROPRIATION

28.

Creative exhibition spaces are carved from the existing public spaces like parks, market places or even abandoned buildings

a)

Contemporary Art as a Breaking of Norms

b)

CONTEMPORARY ART AS A CRITIQUE OF SOCIETY

c)

APPROPRIATION

29.

refers to the awareness of beauty or the quality of ones work

a)

(CA for pleasure) Aesthetic

b)

CA as Profession (Creative Industries)

c)

CA as Commentary

d)

CA in Spirituality

30.

refers to industries which combine the creation, production, and commercialization of creative contents which are intangible and cultural in nature

a)

(CA for pleasure) Aesthetic

b)

CA as Profession (Creative Industries)

c)

CA as Commentary

d)

CA in Spirituality

31.

Art has often been used to answer our need for information

a)

(CA for pleasure) Aesthetic

b)

CA as Profession (Creative Industries)

c)

CA as Commentary

d)

CA in Spirituality

32.

Artists may create art to express spiritual beliefs about the destiny of life controlled by the force of a higher power.

a)

(CA for pleasure) Aesthetic

b)

CA as Profession (Creative Industries)

c)

CA as Commentary

d)

CA in Spirituality

33.

is something done as an aid to memory)

a)

CA as Remembrance

b)

CA for Persuasion

c)

CA as Self-Expression

d)

CA in Spirituality

34.

Many art forms have a persuasive and ideological function

a)

CA as Remembrance

b)

CA for Persuasion

c)

CA as Self-Expression

d)

CA in Spirituality

35.

Art fulfills an expressive function when an artist conveys information about his or her personality, feelings, or worldview

a)

CA as Remembrance

b)

CA for Persuasion

c)

CA as Self-Expression

d)

CA in Spirituality

36.

Art fulfills an expressive function when an artist conveys information about his or her personality, feelings, or worldview

a)

CA as Remembrance

b)

CA for Persuasion

c)

CA as Self-Expression

d)

CA in Spirituality

37.

allows the work to be perceived by the senses and its ideas to be communicated through the arrangement of elements as a whole.

a)

form

b)

Creativity

c)

Imagination

d)

Language

38.

the generation of new ideas, insights, and previously unimagined images and artifacts, is usually thought of as central to the making of art.

a)

form

b)

Creativity

c)

Imagination

d)

Language

39.

is a medium by which cultural meanings are formed and communicated.

a)

form

b)

Creativity

c)

Imagination

d)

Language

40.

is a faculty that allows us to generate mental pictures, ideas, and sensations that do not exist in the world and in some cases cannot exist.

a)

form

b)

Creativity

c)

Imagination

d)

Language

41.

is concerned with search for meaning.

a)

Interpretation

b)

Creativity

c)

Imagination

d)

Language

42.

is concerned with power and the distribution of economic resources in the context of art production.

a)

Interpretation

b)

political economy

c)

Imagination

d)

Language

43.

is unearthed and revealed from the surface of the form.

a)

Interpretation

b)

political economy

c)

ideology

d)

Language

44.

Pertains to the artists his/her attitudes, beliefs, interests and values, education and training, biography (including psychology)

a)

primary context

b)

SECONDARY CONTEXT

c)

AESTHETIC EXPERIENCE

d)

CONSENSUS OF THE ART WORLD

45.

Addresses the external conditions in which the work was produced; the apparent function of the work, religious and philosophical convictions, sociopolitical and economic structures, and even climate and geography.

a)

primary context

b)

SECONDARY CONTEXT

c)

AESTHETIC EXPERIENCE

d)

CONSENSUS OF THE ART WORLD

46.

A thing becomes art when it is charged with meaning and value based on the following ____

a)

primary context

b)

criteria

c)

AESTHETIC EXPERIENCE

d)

CONSENSUS OF THE ART WORLD

47.

Are our responses towards phenomenal like enchantment, fear, awe, terror or guilt all that it takes to name something as art, or consider something as artistic, pleasant or enchanting, or something be a thing or commodity?

a)

primary context

b)

secondary context

c)

AESTHETIC EXPERIENCE

d)

CONSENSUS OF THE ART WORLD

48.

The network of institutions (schools, museums, galleries, commercial market systems, and professions) which exercises the power to set the terms with which the public is made to perceive art.

a)

primary context

b)

secondary context

c)

AESTHETIC EXPERIENCE

d)

CONSENSUS OF THE ART WORLD

49.

refer to human labor power and means of production (tools, equipment, buildings, technologies, knowledge, materials and other resources) the social and technical relations of production (property, power, and control relations governing society’s productive assets), and relations between social classes.

a)

Material Conditions

b)

Creativity

c)

AESTHETIC EXPERIENCE

d)

CONSENSUS OF THE ART WORLD

50.

is the ability to bring forth something new that has value. It is usually thought of as a central to the making of art.

a)

Material Conditions

b)

Creativity

c)

AESTHETIC EXPERIENCE

d)

CONSENSUS OF THE ART WORLD

51.

is one of the areas where there is a string regional art tradition, they produced artists that have contributed to their lively art scene.

a)

Negros

b)

Bacolod and Dumaguete

c)

Baguio City

d)

Davao

52.

are both hailed as centers in the local art industry, as many galleries and artist’s group are found their

a)

Negros

b)

Bacolod and Dumaguete

c)

Baguio City

d)

Davao

53.

y is recognized as the regional center of artistic production in the Cordillera region.

a)

Negros

b)

Bacolod and Dumaguete

c)

Baguio City

d)

Davao

54.

is considered as the aesthetic laboratory and cultural hub of many Mindanao artists

a)

Negros

b)

Bacolod and Dumaguete

c)

Baguio City

d)

Davao

55.

Is the process of responding to observations, concepts, emotions, and other experiences that we encounter in the world and interpreting these responses by creating artworks that employ human skill, intuition and imagination to raw materials or medium with appropriate tools and technique of execution.

a)

Art Production

b)

Art Criticism

c)

Art History

d)

Aesthetics

56.

is the presentation of ideas and feelings by creating expressive images through the application of tools and mastery of techniques to a material.

a)

Art Production

b)

Art Criticism

c)

Art History

d)

Aesthetics

57.

Help us defer our judgment process and understand why we respond the way we do. Involves learning other criteria for judgment beyond our personal likes and dislikes.

a)

Art Production

b)

Art Criticism

c)

Art History

d)

Aesthetics

58.

Help us defer our judgment process and understand why we respond the way we do. Involves learning other criteria for judgment beyond our personal likes and dislikes.

a)

Art Production

b)

Art Criticism

c)

Art History

d)

Aesthetics

59.

Help us defer our judgment process and understand why we respond the way we do. Involves learning other criteria for judgment beyond our personal likes and dislikes.

a)

Art Production

b)

Art Criticism

c)

Art History

d)

Aesthetics