Page 9 |
Save page Remove page | Previous | 9 of 70 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
3
breathe. Capitalism expands to fill the space around us.”
9 Her discussion concluded with a reference to an artwork by Zoe Strauss who, for the past decade, has held an annual, one-day DIY art show in the urban public space of Philadelphia, underneath a freeway, at which she sells her artwork for five dollars a piece.10 Bryan-Wilson concluded with this statement, “It is this kind of improvised and fleeting micro-market that offers us a zone of possibility within the suffocating logic of late capitalism.”11
Bryan-Wilson highlighted some of the ways in which artists have created their own alternative economies and self-organized markets, including trade at the local level. I begin with an introduction about the Creative Time Summit in order to highlight a growing interest in public and social art practices that experiment with models of alternative and sustainable economies as their artistic strategy. In this thesis I will consider not only how artists criticize corporate economic forces, but also the ways in which they create zones of possibility in the “canvas of everyday life”
12
While artists have generated creative, socially engaged and participatory strategies of generosity and non-monetary exchange, does the potential exist for their locally influential practices to affect wider change and perhaps even to spark towards a through socially engaged art practices that perform models of alternatives in resistance to the market.
9 Julia Bryan Wilson, "Markets" (Keynote Presentation, Creative Time Summit: Revolutions in Public Practice, Cooper Union Great Hall, New York City, October 9, 2010), accessed February 07, 2011, http://creativetime.org/programs/archive/2010/summit/WP/2010/10/10/julia-bryan-wilson/.
10 Ibid
11 Ibid
12 "About the CREATIVE TIME Summit," Creative Time - Home, accessed February 08, 2011, http://creativetime.org/programs/archive/2010/summit/WP/about/.
Object Description
| Title | Mejor vida/better life and day-to-day exchanges: Networks of social exchange in contemporary arts practice |
| Author | Anderson, Joy Angela |
| Author email | joy.anderson@usc.edu; majikalnature@gmail.com |
| Degree | Master of Public Art Studies |
| Document type | Thesis |
| Degree program | Public Art Studies |
| School | School of Fine Arts |
| Date defended/completed | 2011-03-08 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-05-06 |
| Advisor (committee chair) | Decter, Joshua |
| Advisor (committee member) |
Owen Driggs, Janet Gonzalez, Rita |
| Abstract | The current economic crisis has brought attention and criticism to a dominant global economic system that is characterized by the goal of exponential expansion in pursuit of private monetary profit. In this thesis I explore the possibility for social and participatory art to invoke, inspire and mobilize action towards alternative sustainable systems of economic exchange. Generosity and non-monetary exchange as a social practice and artistic strategy provide a space for artists and audiences to perform models of alternative economies in the social/public sphere. While they also cultivate a network of social and cultural capital that values shared time and resources for mutual benefit. Using tactics evocative of feminist artists of the 1970s, the art projects considered in this text experiment with ways to live independent of, and in resistance to, the corporate market. My discussion focuses on the socially engaged art projects of artists Minerva Cuevas and Carolina Caycedo, and the Time/Bank initiated by artists Anton Vidokle and Julieta Aranda of e-flux. I reveal how their art projects perform creative models towards an economic paradigm shift, while positioning social and participatory public art practice as models towards sustainable lifestyles. |
| Keyword | social practice; generosity and non-monetary exchange in contemporary art; non-object art; Latin American artists; Mexican artists; Interventionist art; public art; public practice; feminist art; participatory art; alternative economies; barter; time bank; time currency; environmental sustainable lifestyles; economic sustainability; global corporate capitalism; global economic paradigm; art activism; paradigm shift; environmental and social justice; temporary autonomous zone; relational aesthetics; social capital; conceptualism; DIY; globalization; gift economies |
| Coverage date | 1970/2010 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3921 |
| Contributing entity | University of Southern California |
| Rights | Anderson, Joy Angela |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-anderson-4448 |
| Archival file | uscthesesreloadpub_Volume44/etd-anderson-4448.pdf |
Description
| Title | Page 9 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 3 breathe. Capitalism expands to fill the space around us.” 9 Her discussion concluded with a reference to an artwork by Zoe Strauss who, for the past decade, has held an annual, one-day DIY art show in the urban public space of Philadelphia, underneath a freeway, at which she sells her artwork for five dollars a piece.10 Bryan-Wilson concluded with this statement, “It is this kind of improvised and fleeting micro-market that offers us a zone of possibility within the suffocating logic of late capitalism.”11 Bryan-Wilson highlighted some of the ways in which artists have created their own alternative economies and self-organized markets, including trade at the local level. I begin with an introduction about the Creative Time Summit in order to highlight a growing interest in public and social art practices that experiment with models of alternative and sustainable economies as their artistic strategy. In this thesis I will consider not only how artists criticize corporate economic forces, but also the ways in which they create zones of possibility in the “canvas of everyday life” 12 While artists have generated creative, socially engaged and participatory strategies of generosity and non-monetary exchange, does the potential exist for their locally influential practices to affect wider change and perhaps even to spark towards a through socially engaged art practices that perform models of alternatives in resistance to the market. 9 Julia Bryan Wilson, "Markets" (Keynote Presentation, Creative Time Summit: Revolutions in Public Practice, Cooper Union Great Hall, New York City, October 9, 2010), accessed February 07, 2011, http://creativetime.org/programs/archive/2010/summit/WP/2010/10/10/julia-bryan-wilson/. 10 Ibid 11 Ibid 12 "About the CREATIVE TIME Summit," Creative Time - Home, accessed February 08, 2011, http://creativetime.org/programs/archive/2010/summit/WP/about/. |
