Progress through Education 1964

Editor: This is "Progress through Education," painted by Botong Francisco in 1964, using oil on what looks like a mural scale. It’s quite overwhelming in its depiction of Philippine history, a little didactic, maybe? What strikes you when you look at this piece? Curator: As a materialist, I immediately consider the oil paint itself. How does Francisco manipulate this medium to convey such a complex narrative? Oil paint, commercially produced, democratizes artistic expression, yet Francisco's skill elevates it. We also have to consider mural making here: where was it installed and how does the site create meaning? Editor: It's interesting to consider the material in relation to the subject matter. I see indigenous Filipinos alongside colonizers. Is Francisco critiquing the methods through which education was, and perhaps still is, disseminated? Curator: Precisely! Notice the figures – who has access to education? How are they positioned in relation to labor, land, and capital? The very act of painting this mural becomes a commentary on cultural production, power, and who controls the narrative. Think about who funds this artwork and for what purpose! Editor: So, the "progress" isn't necessarily a straightforward, positive thing? It’s portrayed through the lens of social and economic factors impacting the Filipino people? Curator: Exactly. The materials and method of production force us to confront the social realities embedded in this idealized vision of progress. The consumption of this image itself becomes part of that cycle. Editor: I hadn’t considered the act of making and displaying it as part of the commentary, but it makes perfect sense. It provides an added layer to how we engage with this piece! Curator: Indeed! Looking at the mural this way exposes power dynamics that underpin artistic creation.