THE past few years have seen the advent of local magazines devoted to design, arts and culture. One of the newest and probably the only one 100-percent devoted to the visual arts on the scene is Contemporary Art Philippines (CAP), a bi-monthly glossy.

The question its arrival raises is not whether the art community is large enough for media coverage, but whether there is an audience for Philippine art. Given the newfound attention to Filipino artists at auctions of Southeast Asian art and the popularity of Philippine art on the international art scene, the answer can only be ?yes.?

In its first issue (September-October 2008), editor and publisher Jack Teotico mapped out the magazine?s aims: to reach out and spread the good news of Philippine art to the world, and, conversely, bring the international art scene closer to Filipinos.

The organization of the magazine is straightforward, opening with a spread showing the Calendar for the two months each issue covers, the Gallery section containing recaps of recent exhibits and more detailed announcements of upcoming shows, features, auction results; and White Wall, where the reader can view pieces selected by a guest curator.

As the September-October issue came out in time for the Singapore Biennale, the Calendar contained mainly Singapore announcements?all but one on the list was outside of the Philippines. The second issue provides a better overview, with a balance of both local and foreign events.

The Gallery section is helpful for catching up on shows one missed, minus the shop talk one normally overhears at an exhibit opening. There is a marked improvement here, from two events to a page in the first issue to an average of a page for each show in the second.

Certainly BenCab and Onib Olmedo have earned their stripes to be on the covers of the first two issues. Their stories reveal interesting facets about their personal lives, as does the interview with sculptor Gabby Barredo.

The young artists of Antipolo, collectively known Sangviaje, have a lot to live up to after the rockstar treatment they received in the first issue, though the group can be said to merit that status.
The issue also acknowledges the rise of women artists Geraldine Javier, Marina Cruz-Garcia, Nona Garcia, Yasmin Sison-Ching and Annie Cabigting.

Although the magazine?s primary audience consists of buyers, collectors and dealers, the issue is accessible and accommodating to new enthusiasts who are only beginning to appreciate Philippine art.

New issue

In the November-December issue, Lisa Ito delivers the first part of her essay on the largest galleries in the metropolis, a timely story that marks the end of the mall gallery era and the dawn of a new period where art spaces emphasize both art and space.

The sophomore outing is meatier. While Tina Fernandez first curated White Wall without commentary on her choices, Cid Reyes offers insights on his selection of sculptures in the second issue without sacrificing the essential white space. The long discussion of auction results in the first issue were stripped down to prices in the next.

At this rate, all the January-February 2009 issue needs are analysis and trends, leaving nothing more to ask for, other than more care with punctuation and the labeling of images.

The balance of human-interest articles and more critical scholarly pieces not only makes for good reading, but also familiarizes the audience in academic thought, situating the creative process within broader sociohistorical contexts.

Contributors include Ruben Ramas Cañete, Riel Hilario, Marika Constantino, Rene Guatlo, Kristine Fonacier, Yvette Tan and Tara FT Sering (also CAP?s managing editor).

Teotico?s numerous years as art-industry practitioner and his international contacts on the art scene may be assets in his role as art-mag publisher. He says he believes his editorial team will protect the magazine?s integrity by ensuring that the artists and images that make it to the magazine are only those who deserve to be there. He explains this is crucial in earning the trust of artists, gallery owners, collectors and art stake-holders, whose support the magazine cannot do without.

The opening up of Philippine art to the regional market is an exhilarating validation of local talent. Yet caution needs to be exercised on the artists? outward-looking stance as this dependence may be affected by the economic crunch.

Contemporary Art Philippines, then, has the opportunity to grow the local market and take initiative in helping young and mid-career artists get a much-needed break by going beyond the written page.