by Paul Grant In 1991, Alice Guillermo, the respected Manila-based art critic published a much-needed history of Cebuano art entitled Cebu: A Heritage of Art [1]. Guillermo eloquently expounded on works created in Cebu, from church ceilings to what she referred to as the then contemporary "crop" of artists. While the work is a laudatory, necessary and insightful effort, one might be struck by certain gaps, not in the history she recounts, nor in the group of artists whom she celebrates, but rather more generally in the very concept of art described: in large part what we encounter in this avowed heritage is painting. The resultant picture is of an artistic tradition touched by certain realist schools, folk art, tendencies in art brut, and a fair amount of portraiture and landscape.

by Ivy Marie Apa On Pedagogy as Art Eighteenth-century Enlightenment has enacted changes in the way, Western societies value artistic productions.

by Nomar Bayog Miano Art criticism has a tendency to couch valuations of art in a historical mold. This tendency pushes certain elements or features of artistic traditions to the margins of discourse.