MAPEH _ ARTS

1. Quarter I:
MODERN ART
Brenda B. Catalya
Asuncion NHS
Grade 10 - ARTS

2. LEARNING COMPETENCIES
The learner…
1. analyzes art elements and principles in
the production of work following a
specific art style from the various art
movements.
2. identifies distinct characteristics of arts
from the various art movements.

3. 1. Impressionism: Origins of the Movement
2. Expressionism: A Bold New Movement
3. Abstractionism
4. Abstract Expressionism, Pop Art, Op Art
5.Contemporary Arts Forms:

4.  Works of Manet, Monet, and Renoir
• Post-Impressionism:
 Works of Cezanne and Van Gogh
1. Impressionism: Origins of
the Movement

5. 2. Expressionism: A Bold New
Movement
Among the various styles that arose within
the expressionist art movements were:
neoprimitivism
fauvism
dadaism
surrealism
social realism

6. 3. Abstractionism
Grouped under abstractionismare the
following art styles:
cubism
futurism
mechanical style
nonobjectivism

7. 4. Abstract Expressionism,
Pop Art, Op Art
The movements they brought about have
come to be called:
neodadaism and pop art
conceptual art
op art
the new realism

8. 5.Contemporary Arts Forms:
 Installation Art and
 Performance Art

9. WHAT TO PERFORM
CULMINATING ACTIVITY FOR QUARTER I:
“AN EXHIBIT OF MODERN ART”
presenting the following categories:
1. Impressionism
2. Expressionism
3. Abstractionism, Pop art, Op art
4. Installation art
5. Performance art

10. Curating the Exhibit
Each artwork will be accompanied by a card briefly describing the
work as follows:
For student-made artworks:
Title _________________________________________________
Artist/s _________________________________________________
Artistic style and medium used ______________________________
Date of creation __________________________________________
For reproductions or images of known artworks:
Title _________________________________________________
Artist _________________________________________________
Artistic style and medium used ______________________________
Year or period of creation __________________________________
Prevailing historical events at that time
Link between the work and the context in which it was created

11. Critiquing the Exhibit
As a form of self-evaluation, rate the culminating
exhibit using the format below:
“AN EXHIBIT ON MODERN ART”
Evaluation Form

12. Criteria
• Selection of artworks
(theme and message)
• Completeness of exhibit
• Presentation
(display, mounting, and
labeling of works)
• Assignment of tasks
• Cooperation among students
• Response of exhibit visitors
Very
Good
Good Fair Poor

13. INTRODUCTION
• In all of human history, art has
mirrored life in the community,
society, and the world in all its
colors, lines, shapes, and forms.
• The same has been true in the last
two centuries ,with world events and
global trends being reflected in the
art movements.

14. • The decades from 1900 to the
present have seen the human race
living in an ever shrinking planet.
• The 20th century saw a boom in the
interchange of ideas, beliefs, values,
and lifestyles that continues to bring
the citizens of the world closer
together.

15. • Technological breakthroughs
• Social, political, and environmental
changes
• Effects on the world of art

16. Impressionism:
Origins of the
Movement

17. Impressionism
• was an art movement that emerged in the
second half of the 19th century among a
group of Paris-based artists.
• The duration of the impressionist movement
itself was quite short, less than 20 years from
1872 to the mid-1880s.
• But it had a tremendous impact and influence
on the painting styles that followed, such as
neo-impressionism, post-impressionism,
fauvism, and cubism—and even the artistic

18. The name impressionism was coined from the title of
a work by French painter Claude Monet, Impression,
soleil levant (in English, Impression, Sunrise).
Impression,
Sunrise
Claude Monet,
1872
Oil on canvas

19. The Influence of Delacroix
• One major influence was the work of French
painter Eugène Delacroix.
• Delacroix was greatly admired and emulated
by the early impressionists—specifically
for his use of expressive brushstrokes,
• his emphasis on movement rather than on
clarity of form, and most of all his study of
the optical effects of color.

20. The Barque of Dante
Eugène Delacroix, 1822
Oil on canvas

21. When studied closely, it is seen that four different, unmixed
pigments—yellow, green, red, and white—create the image
of each drop and its shadow. Viewed from a little distance,
these colors blend to represent individual drops glistening
with light. The distinct colors merge in the eye of the viewer
to appear monochromatic (single-colored) or, in this case of
water droplets, colorless. In short, an impression is formed.

22. Impressionism:
A Break from Past Painting
Traditions
There were several areas in which impressionist
artists moved away from the established practices of
art at that time. These involved their use :
 color,
 Choice of subject matter and setting, and
 technique for capturing light and conveying
movement.

23. • Color and Light
• Everyday Subject
• Painting Outdoors
• Open Composition
• The Influence of Photography

24. WHAT TO KNOW
1. How did the term impressionism originate? What did it
mean?
2. In what country did this art movement begin, and in what
period of history?
3. What was the significance of the painting technique used
by Delacroix in the development of the impressionist style?
4. What characteristics distinguished impressionism from
the art movements of the earlier centuries? Cite and briefly
describe at least three of these characteristics.
5. How was the impressionist style influenced by the early
stages of photography?

25. WHAT TO PROCESS
To help you understand the revolutionary technique for applying color
introduced by the impressionists, experiment with this simplified
process:
1. Take a set of watercolors (cake type or in tubes). Choose one
secondary color: orange, green, or violet.
2. Color a shape on a paper using this single secondary color.
3. Beside it, color a similar shape using strokes of the two primary
colors that are combined in that particular secondary color (ex: red +
yellow = orange; blue + yellow = green; red + blue = violet).
4. Hold the paper some distance away and ask your classmates to
comment on the “impression” of the secondary color you have
created and the actual color itself.

26. Impressionism:
Works of Manet,
Monet, and Renoir

27. EDOUARD MANET (1832-1883)
• was one of the first 19th century
artists to depict modern-life subjects.
• He was a key figure in the transition
from realism to impressionism, with a
number of his works considered as
marking the birth of modern art.

28. Argenteuil Rue Mosnier Decked With Flags
Edouard Manet, 1874 Edouard Manet, 1878
Oil on canvas Oil on canvas

29. Café Concert The Bar at the Folies-Bergere
Edouard Manet, 1878 Edouard Manet, 1882
Oil on canvas Oil on canvas

30. CLAUDE MONET ( 1840-1920)
• Was one of the founders of the
impressionist movement along with
friend Renoir and Sisley.
• Is best known for his landscape
paintings, particularly those
depicting his beloved flower gardens
and water lily ponds at his home.

31. La Promenade The Red Boats, Argenteuil
Claude Monet, 1875 Claude Monet, 1875
Oil on canvas Oil on canvas

32. Bridge Over a Pond of Water Lilies Irises in Monet’s Garden
Claude Monet, 1899 Claude Monet, 1900
Oil on canvas Oil on canvas

33. AUGUSTE RENOIR
• (1841-1919), along with Claude Monet,
was one of the central figures of the
impressionist movement.
• His early works were snapshots of real life,
full of sparkling color and life full of
sparkling color and light

34. Dancer A Girl with a Watering Can
Auguste Renoir, 1874 Auguste Renoir, 1876
Oil on canvas Oil on canvas

35. Mlle Irene Cahen d’Anvers Luncheon of the Boating Party
Auguste Renoir, 1880 Auguste Renoir, 1881
Oil on canvas Oil on canvas

36. Post-Impressionism:
Works of Cezanne
and
Van Gogh

37. • After the brief yet highly influential period of
impressionism, an outgrowth movement known as
post-impressionism emerged.
• The European artists who were at the forefront of this
movement continued using the basic qualities of the
impressionists before them—the vivid colors, heavy
brush strokes, and true-to-life subjects.
• However, they expanded and experimented with these
in bold new ways, like using a geometric approach,
fragmenting objects and distorting people’s faces and
body parts, and applying colors that were not
necessarily realistic or natural.

38. PAUL CEZANNE (1839–1906)
• was a French artist and post
impressionist painter.
• His work exemplified the transition from
late 19th-century impressionism to a new
and radically different world of art in the
20th century—paving the way for the
next revolutionary art movement known
as expressionism.

39. Hortense Fiquet in a Striped Skirt Still Life with Compotier
Paul Cezanne, 1878 Paul Cezanne, 1879-1882
Oil on canvas Oil on canvas

40. Harlequin Boy in a Red Vest
Paul Cezanne, 1888-1890 Paul Cezanne, 1890
Oil on canvas Oil on canvas

41. VINCENT VAN GOGH (1853-1890)
• was a post-impressionist painter from the
Netherlands.
• His works were remarkable for their strong,
heavy brush strokes, intense
emotions, and colors that appeared to almost
pulsate with energy.
• Van Gogh’s striking style was to have a far-
reaching influence on 20th century art, with
his works becoming among the most
recognized in the world.

42. Sheaves in Wheat in the Field
Vincent Van Gogh, 1885
Oil in Canvas
The Sower,1888
Vincent Van Gogh, 1885
Oil in Canvas

43. Still Life: Vase with Fifteen Sunflowers Bedroom at Arles
Vincent van Gogh, 1888 Vincent van Gogh, 1888
Oil on canvas Oil on canvas

44. Starry Night Wheat Field with Cypresses
Vincent van Gogh, 1889 Vincent van Gogh, 1889
Oil on canvas Oil on canvas

45. WHAT TO KNOW
1. Name three of the most prominent artists of the
impressionist movement.
2. Cite one outstanding characteristic of each of these
artists.
3. Who were two of the most famous post-
impressionists?
4. What new techniques or styles distinguished post-
impressionism from the earlier impressionism?
5. Identify two to three specific artworks where these
techniques are prominently seen.

46. WHAT TO PROCESS
Creating Your Own Impressionist
Artwork
Materials: Bond paper long
Pencil, Color Materials
Procedure:
1. Decide on a simple design for your artwork from a
impressionist artwork
2. Using a pencil, sketch in the general design on the
bond paper.
3. Apply color in your drawing.

47. Expressionism:
A Bold New Movement

48. • In the early 1900s, there arose in the Western
art world a movement that came to be
known as expressionism.
• Expressionist artists created works with more
emotional force, rather than with realistic or
natural images.
• To achieve this, they distorted outlines,
applied strong colors, and exaggerated forms.
• They worked more with their imagination
and feelings, rather than with what their eyes
saw in the physical world.

49. Among the various styles that arose
within the expressionist art movements
were:
neoprimitivism
fauvism
dadaism
surrealism
social realism

50. Neoprimitivism
• was an art style that incorporated elements
from the native arts of the South Sea
Islanders and the wood carvings of African
tribes which suddenly became popular at
that time.
• Among the Western artists who adapted
these elements was AmedeoModigliani, who
used the oval faces and elongated shapes
of African art in both his sculptures and
paintings.

51. Head Yellow Sweater
Amedeo Modigliani, c. 1913 Amedeo Modigliani, 1919
Stone Oil on canvas

52. Fauvism
• was a style that used bold, vibrant colors and
visual distortions.
• Its name was derived from les fauves
(“wild beasts”), referring to the group of
French expressionist painters who painted
in this style.
• Perhaps the most known among them was
Henri Matisse.

53. Woman with Hat
Henri Matisse, 1905
Oil on canvas
Blue Window
Henri Matisse, 1911
Oil on canvas

54. Dadaism
• was a style characterized by dream fantasies, memory images, and
visual tricks and surprises—as in the paintings ofMarc Chagall and
Giorgio de Chirico below.
• Although the works appeared playful, the movement arose from
the pain that a group of European artists felt after the suffering
brought by World War I.
• Wishing to protest against the civilization that had brought on
such horrors, these artists rebelled against established norms
and authorities, and against the traditional styles in art. They
chose the child’s term for hobbyhorse, dada, to refer to their new
“non-style.”

55. Melancholy and Mystery of a Street I and the Village
Giorgio de Chirico, 1914 Marc Chagall, 1911
Oil on canvas Oil on canvas

56. Surrealism
• was a style that depicted an illogical,
subconscious dream world beyond
the logical, conscious, physical one.
• Its name came from the term “super realism,”
with its artworks clearly expressing a
departure from reality—as though the
artists were dreaming, seeing illusions, or
experiencing an altered mental state.

57. Persistence of Memory
Salvador Dali, 1931
Oil on canvas

58. Diana Personages with Star
Paul Klee, 1932 Joan Miro, 1933
Oil on wood Oil on canvas

59. Social Realism
• The movement known as social realism.
expressed the artist’s role in social reform.
• Here, artists used their works to protest against
the injustices, inequalities, immorality, and
ugliness of the human condition.
• In different periods of history, social realists have
addressed different issues: war, poverty,
corruption, industrial and environmental hazards,
and more—in the hope of raising people’s
awareness and pushing society to seek reforms.

60. Miners’ Wives
Ben Shahn, 1948
Egg tempera on
board

61. Guernica
Pablo Picasso, 1937
Oil on canvas (Size: 11’ 5 1/2” x 25’ 5 3/4”)

62. Abstractionism
• Another group of artistic styles emerged
at the same time as the expressionist
movement.
• It had the same spirit of freedom of
expression and openness that
characterized life in the 20th century, but it
differed from expressionism in certain
ways. This group of styles was known as
abstractionism.

63. Oval Still Life (Le Violon)
Georges Braque, 1914
Oil on canvas

64. Grouped under abstractionism are
the following art styles:
cubism
futurism
mechanical style
nonobjectivism

65. Cubism
• The cubist style derived its name from
the cube, a three dimensional geometric
figure composed of strictly measured
lines, planes, and angles.
• Cubist artworks were, therefore, a play
• of planes and angles on a flat surface.
Foremost among the cubists
was Spanish painter/sculptor Pablo
Picasso

66. Three Musicians Girl Before a Mirror (detail)
Pablo Picasso, 1921 Pablo Picasso, 1932
Oil on canvas Oil on canvas

67. Futurism
• the futurists created art for a fast-
paced, machine-propelled age.
• They admired the motion, force,
speed, and strength
of mechanical forms.

68. Armored Train
Gino Severini,
1915
Oil on canvas

69. Mechanical Style
• As a result of the futurist movement,
what became known as the
mechanical style emerged.
• In this style, basic forms such as
planes, cones, spheres, and
cylinders all fit together precisely and
neatly in their appointed places

70. The City
Fernand Léger, 1919
Oil on canvas

71. Nonobjectivism
• The logical geometrical conclusion of
abstractionism came in the style known
as nonobjectivism.
• From the very term “non-object,” works
in this style did not make use of figures
or even representations of figures.
• They did not refer to recognizable
objects or forms in the outside world.

72. New York City
Piet Mondrian, 1942
Oil on canvas

73. WHAT TO KNOW
A. Expressionism
1. Describe how the different elements and principles were used by
expressionist artists to convey their individual style. Discuss three
examples from works in these Learner’sMaterials.
2. What qualities make an artwork expressionistic?
3. Where did neoprimitivismget its influences?
4. Who is the French artist famous for his fauvist style?
5. What are the characteristics of fauvism?
6. Why was the child’s term “dada” fitting for the art movement
known as dadaism?
7. What style of painting is Salvador Dali known for?
8. What art movement expressed the artists’ social role?

74. B. Abstractionism: Cubism, Futurism, Mechanical Style
1. Explain the difference between expressionism and
abstractionism.
2. How did the cubists give a sense of dynamism and
energy to their works?
3. Who is considered the most famous abstractionist and
cubist artist?
4. Describe how each of the following styles reflected
modern life:
a. futurism
b. mechanical style
c. nonobjectivism

75. WHAT TO PROCESS
A. For Expressionism
Create a Work of “Social Realism”
1. With your group mates, choose a current issue in society that you
feel needs to be addressed.
2. Select art materials that are readily available, such as one whole
sheet of cartolina; acrylic paints, poster paints, or any available
paints; markers, crayons, pastels, or colored pencils; #8 brush;
scissors; glue or paste; and pictures from magazines, newspapers, or
calendars.
3. Working as a group, plan how to use these materials to express
your message about your chosen social issue.
4. Assign a task to each group member, then create your artwork
together. (Note: Remember that expressionism made use of very
strong images and colors, and expressed deep emotions.)
5. Decide on a title for your group artwork.

76. B. For Abstractionism
Groups A, B, C: Create a “Picasso”
1. Review the description of Picasso’s cubist style.
2. Based on this, plan a cubist artwork for your group to
create.
3. Prepare a magazine, assorted photographs, 1 sheet of
oslo paper, scissors, and glue or paste.
4. Select a large photograph from the magazine and/or the
other photos, and cut these up into segments of different
shapes and sizes.
5. Glue or paste the segments on the oslo paper in a
creative way, but with the image still recognizable.
6. Give your cubist artwork a title.

77. Abstract Expressionism,
Pop Art, Op Art

78. • World events in the mid-20th century
immensely influenced the course of
human life and, with it, the course of art
history.
• World War I (1913-1914) and World
War II (1941-1945), in particular, shifted the
political, economic, and cultural world
stage away from Europe and on to the
“New World” continent, America.

79. Action Painting
• One form of abstract expressionism was
seen in the works of Jackson Pollock.
• These were created through what came to
be known as “action painting.”

80. Pollock worked on huge canvases spread on the floor, splattering, squirting, and
dribbling paint with (seemingly) no pre-planned pattern or design in mind.

81. Autumn Rhythm
Jackson Pollock, 1950
Oil on canvas

82. Color Field Painting
• In contrast to the vigorous gestures of the
action painters, another group of artists
who came to be known as “color field painters”
used different color saturations (purity,
vividness, intensity)
• to create their desired effects. Some of their
works were huge fields of vibrant color—as
in the paintings of Mark Rothko and Barnett
Newman.

83. Magenta, Black, Green Vir Heroicus Sublimis on Orange
Barnett Newman, 1950-1951 Mark Rothko, 1949 Oil on canvas
Oil on canvas

84. Forgotten Dream Abstract No. 2
Adolph Gottlieb, 1946 Lee Krasner, 1948
Oil on canvas Oil on canvas

85. The movements they brought
about have come to be called:
neodadaism and pop art
conceptual art
op art
the new realism

86. Neodadaism
• 1960s wanted to make reforms in traditional
values.
• It also made use of commonplace, trivial,
even nonsensical objects. But unlike the
angry, serious tone of the original dadaists,
the neodadaists seemed to enjoy nonsense
for its own sake and simply wanted to laugh
at the world.

87. Pop Art ( from popular)
• Their works ranged from paintings, to posters,
to collages, to three-dimensional
“assemblages” and installations.
• These made use of easily recognizable objects
and images from the emerging consumer
society—as in the prints of Andy Warhol.
• Their inspirations where the celebrities ,
advertisements, billboards and comic strips
that where becoming common place at that
time

88. Twelve Cars Marilyn Monroe
Andy Warhol, 1962 Andy Warhol, 1967
Art print Silkscreen print

89. Whaam!
Roy Lichtenstein, 1963
Acrylic and oil on canvas

90. In the Car
Roy Lichtenstein, 1963

91. Conceptual Art
• was that which arose in the mind of the
artist, took concrete form for a time, and
then disappeared (unless it was captured in
photo or film documentation).
• Conceptualists questioned the idea of art as
objects to be bought and sold. Instead, they
brought their artistic ideas to life temporarily,
using such unusual materials as grease,
blocks of ice, food, even just plain dirt.

92. One and Three Chairs
Joseph Kosuth, 1965
An actual chair (center), with a photograph of the same
chair an enlarged copy of dictionary definition of a chair.

93. Op Art
• Another movement that emerged in the
1960s was optical art or “op art.”
• This was yet another experiment in visual
experience—a form of “action painting,” with
the action taking place in the viewer’s
eye.
• In op art, lines, spaces, and colors were
precisely planned and positioned to give the
illusion of movement

94. Current
Bridget Riley, 1964
Synthetic polymer paint on composition board

95. WHAT TO KNOW
A. Abstract Expressionism: Action Painting, Color
Field Painting
1. What were two of the art movements that emerged
from The New York School?
2. Why were action painting and color field painting
given these names?
3. Who was the artist who became famous for his
action painting style?
4. Describe how the elements and principles of art
were used in the unique techniques and approaches
of these movements.

96. B. Neodadaism, Pop Art, Op Art
1. What is conceptual art? How is it unlike any
other art movement before it?
2. How was neodadaism different from the
earlier dadaism movement?
3. From where did pop art draw its subjects?
4. Name the foremost artists of the pop art
movement.
5. Explain how the elements of art were used to
create the special technical effect on opt art.

97. What to Process
Group Project:
“My Own Modern Art”
Group 1 – Action Painting
Group 2 – Colored Field Painting
Group 3 – Pop Art
Group 4 - Conceptual Art

98. Procedure for Color Field Painting: Pictograph
Approach
1. Prepare your materials – 1 whole cartolina or 1
whole box board; acrylic, poster, or any available
paints in primary colors, black, and white; #8
paintbrushes; small rags for cleaning up.
2. As a group, plan the overall composition and
technique that you will use. Select colors of paint
similar to those used by color field artists,
and plan how these will be arranged in your artwork
3. Decide on a title for your group artwork and display
it in the classroom

99. Procedure for Action Painting
1. Prepare your materials – 1 whole cartolina, box board, or
other recycled board; acrylic paints; 1-inch paintbrushes,
sponges, or popsicle sticks; recycled mixing plates; small
rags for cleaning up; newspaper for covering work surface.
2. As a group, discuss the overall composition and technique
that you will use.
3. Select desired colors of paint and apply these to the
board using actions such as brushing, sprinkling, dripping,
andflicking. Let the paint dry.
4. Decide on a title for your group painting and display it in
the classroom

100. Procedure for Pop Art
1. Prepare your materials – 1 whole cartolina or 1 whole box board;
old colored magazines, newspapers, or calendars; scissors; glue or
paste; watercolors, acrylic paints, poster colors, crayons, or pastels;
#8 paintbrushes and/or sponges.
2. Select a “popular” subject for your artwork (e.g., a product, a
celebrity, a movie or television character, a sport, a place, a brand
name, etc.). Plan how this will be depicted using your available
Materials
3. Cut out images, letters, etc. from the magazines, newspapers, or
calendars, and glue or paste them on the cartolina or board. Color
the surrounding background with watercolors, poster colors, or any
available paints.Youmay add details with crayons or pastels.
4. Decide on a title for your group artwork and display it in the
classroom.

101. Contemporary Arts Forms:
Installation Art and
Performance Art

102. Installation art
• makes use of space and materials in
truly innovative ways,
Performance art
• makes use of the human body, facial
expressions, gestures, and sounds.

103. Installation art
• is a contemporary art form that uses
sculptural materials and other media to
modify the way the viewer experiences a
particular space.
• Usually life size or sometimes even larger,
installation art is not necessarily confined to
gallery spaces.
• It can be constructed or positioned in
everyday public or private spaces, both
indoor and outdoor.

104. Cordillera Labyrinth
Roberto Villanueva, 1989
Bamboo and runo grass
Outdoor installation at the
Cultural Center of the Philippines

105. Pasyon at Rebolusyon
Santiago Bose, 1989
Mixed Media Installation

106. Go to Room 117
Sid Gomez Hildawa, 1990
Mixed media installation

107. Four Masks
Edgar Talusan Fernandez, 1991
Outdoor Installation

108. Performance art
• is a form of modern art in which the actions of an
individual or a group at a particular place and in a
particular time constitute the work. It can happen
anywhere, at any time, or for any length of time.
• It can be any situation that involves
four basic elements:
time
space
the performer’s body
a relationship between performer and audience.

112. WHAT TO KNOW
A. Installation Art
1. What are the distinct characteristics of installation
art?
2. Why is it called “installation”?
3. In general, what do installation artists express in
their works?
4. Aside from the traditional mediums and materials,
what new elements can installation artists
incorporate in their works?
5. What are some unique ways that the viewer can
get to experience a piece of installation art?

113. B. Performance Art
1. What are different names for performance
art?
2. How do these point to the distinct qualities of
this form of art?
3. In what decade did this art form emerge?
4. As distinct from traditional art forms, what or
who serves as the medium of performance?
5. Give examples of places where the
performance arts takes place.

114. What to Process:
Groups A and B: Installation Art
1. The group members will brainstorm on the concept of an
installation work to be constructed within the school grounds.
2. As a group, gather creative and innovative materials for the
planned installation and bring these to your chosen work area.
3. Together, assemble the materials to construct your installation.
4. Give the work a thought-provoking title and label it accordingly.
5. All the groups will then take a tour of the installations created by
the others.
6. Hold a discussion on how the finished works made the class
members feel and think; and whether they consider these good
examples of installation art or not.

115. Groups C and D: Performance Art
1. The group members will brainstorm on the concept of a
performance art presentation.
2. As a group, agree on the place, equipment, costumes,
and props (if any) for your presentation.
3. Assign roles/tasks to each group member, as performers,
production crew, etc.
4. At the assigned time, the two groups will perform in front
of the class.
5. Hold a discussion on how the performance art
presentations made the class members feel and think; and
whether they consider these good examples of performance
art or not.

116. WHAT TO PERFORM
CULMINATING ACTIVITY
FOR QUARTER I:
“AN EXHIBIT OF MODERN
ART”