Ms sect b 20170806 sunday

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SUNDAY, AUGUST 6, 2017 Adelle Chua, Editor

Opinion

Joyce Pangco Pañares, Issue Editor

mst.daydesk@gmail.com

EDITORIAL

POP GOES THE WORLD JENNY ORTUOSTE

A UNIVERSAL GOOD

CONTEMPORARY ART AT SF MOMA

SAN FRANCISCO, California—The San Francisco Museum of Modern Art guarantees an interesting experience for visitors with its collection of contemporary works that will definitely elicit reactions whether for better or for worse. When I visited, they were having an Edvard Munch special exhibit for which they collected an extra fee. Since the Norwegian artist’s “Scream” was not there, I decided to save six dollars and skip that exhibit, plunking down $25 for general admission. I didn’t take the guided tour but instead meandered through the building and its seven floors and outdoor spaces, going as my fancy took me. I must confess that modern art leaves me unimpressed. I prefer figurative art, which in my estimation takes more technical skill. Abstractionism seems to me like a bunch of rowdy kindergartners let loose in an art supply store. But I knew I would learn something from the experience. In the SF MOMA lobby hangs a mobile by Alexander Calder, who invented the art form. Frankly, “Untitled” (1963, metal and paint) looks like a group of white clothes hangers supporting white forms that look like guitar picks. I prefer the bright primary colors of his “Big Crinkly” (1969, metal and paint) displayed in an outdoor terrace. In one of the many rooms, my inner kindergartner’s eye is caught by Ellsworth Kelly’s “Spectrum I” (1953, oil on canvas). It has 14 carefully laid vertical stripes in the color of the rainbow, with the violet spectrum in the middle. Inner Kindergartner believes she can create such a painting herself with a 24-box of Crayola crayons. Another work of Kelly’s comprises seven horizontal rectangles, painted, in order, blue, red, white black, yellow, white, and blue. The work is titled “Red Yellow Blue White and Black with White Border (1952-53, oil on canvas). Nearby are four larger rectangles arranged beside each other, painted blue, green, black, red. I facepalm. In another room, Cy Twombly’s works have center stage. What is this that fills one wall? It looks like a chalkboard with furious scribbles, not even discernable text. The card beside it says these “restrained gray paintings” rendered with “oil-based house paint, crayon, and graphite on canvas” are actually referred to as “blackboards” for their “superficial resemblance” to those found in school rooms. I have seen more interesting drawings in elementary school classrooms. I found Mike Mandel’s photographs of ‘70s California more rewarding and significant as a documentation of the times. In his photos are grannies with neatly coiffed hair and stylish coats, women with animal-print handbags and cat’s-eye sunglasses, views of motel swimming pools and boardwalks. Walking through more rooms, a familiar style catches my eye. Frida Kahlo’s “Frieda and Diego Rivera” (1931, oil on canvas) is beautiful. It shows Diego towering over Frieda, her hand over his. It is a portrait of their love, made tangible, public, immortal. As I leave, I spy another room,

O

NE would think the signing into law of the Universal Access to Quality Tertiary Education Act of 2017 would prompt universal celebration.

After all, free tuition for those enrolled in 112 state and local universities and colleges is a significant social step. Many Filipino students are not able to go past high school because their parents cannot afford to send them to college. Thus, potential remains just that, and even talented students are consigned to lowly jobs that do not provide much room for upward mobility, higher learning and an opportunity to contribute more to nation building. But now P16 billion annually has been earmarked for free tuition in SUCs despite objection from economic managers who believe it might cost the government too much. Political will saved the day: “[We] weighed everything and came to the conclusion that the long-term benefits that will be derived from a well-developed tertiary education on the part of the citizenry will definitely outweigh any short-term budgetary challenges. If there’s a will, there’s a way,” Senior Deputy Executive Secretary Menardo Guevarra said. The benefits will not be instant and details still have to be worked out. Appropriation and finance are tricky, as is the determination of those deserving of the scholarship. We trust that these details will be worked out by the bureaucrats whose job it is to implement the lofty goals of laws. Unfortunately, instead of rallying behind making sure the law’s objectives are realistically met, there is now a debate on who should take the credit for the passage of a popular law. Staunch Duterte critic, Senator Benigno Paolo Aquino IV, the cousin of his namesake former President, is the author of the law. But instead of noting that support for it cuts across political affiliations, Communications assistant secretary Margaux Uson took to social media yet again— despite her boss’ promise to hire editors to rein in her less-than-enlightened blog and Facebook posts. She accused the senator of taking sole credit for the law even when education was not a priority during his cousin’s term. She then said budget for the law would come from President Rodrigo Duterte. An ambitious law is upon us, and despite its grand objectives it will certainly be challenged by numerous practical issues. This should be the focus for now. Uson, Aquino and other noisemakers should stop making the matter about themselves and their enemies. They only reveal that they themselves are in dire need of education.

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CARING ENOUGH LONG STORY SHORT ADELLE CHUA

WHAT is it like to be a drag queen with a full-time job in a foreign country? The musical Caredivas has been around for a while but it was only sometime last month that I finally got the opportunity to see this Philippine Educational Theater Association pro-

duction. I had high expectations, of course. PETA has consistently impressed me with the political and social relevance of its plays and the sheer talent of its performers. From recent memory there is Rak of Aegis, set amid the all-

too-real context of extreme weather conditions, climate change and poverty. A girl dreams big—and finds love besides. The production uses the songs of the pop-rock icon Aegis band. Yes, they of the high notes and deep hugot.

Or you can have 3 Stars and a Sun, set in a futuristic society—what is left of the Philippines after a fallout, and where hegemony still exists despite, or because of, the controlled environment. If musicals could be dark and Turn to B2

Rolando G. Estabillo Publisher ManilaStandard

Published Monday to Sunday by Philippine Manila Standard Publishing Inc. at 6/F Universal Re Building, 106 Paseo de Roxas, corner Perea St., Legaspi Village, Makati City. Telephone numbers 832-5554, 832-5556, 832-5558 (connecting all departments), (Editorial) 832-5554, (Advertising) 832-5550. P.O. Box 2933, Manila Central Post Office, Manila. Website: www.thestandard. com.ph; e-mail: contact@thestandard.com.ph

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