Page 15 |
Save page Remove page | Previous | 15 of 70 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
9
through an online discussion facilitated by artist and writer Gregory Sholette as part of the Creative Time Summit: Revolutions in Public Practice.
23
Through a critical analysis of each of these projects from a feminist art perspective,
24 I propose that they offer a determinative lens and experiences of participating in alternative systems of exchange that act as points of resistance to the corporate capitalist market economy. In their interrogation and practice of alternative models, these projects also offer a space in which participants are able to perform various “ways to live without dropping out.”25
Common threads that run through this discussion are inquiries that seek to reveal how the selected projects are situated historically relative to social and participatory art practices. Additionally important are the strategies they use to counter the monetary economic system; the ways in which the projects are sustained monetarily by art institutions and negotiations and contradictions the artists confront as their work oscillates between art as symbolic representation and art as action. Specifically, participants are introduced to the possibility of moving towards sustainable economic practices, perhaps even a new economic paradigm, that values people and life on the planet over monetary profit.
23 Access this website to read and participate in the online discussion: http://creativetime.org/programs/archive/2010/summit/WP/
24 I position the works of Caycedo, Cuevas, Aranda and Vidokle as a social practice in which the artistic forms of social interaction and performance function as tools critical of a dominant system that impacts on a personal level. There are striking similarities and strategies by feminist artists of the 1970s, although in these contemporary cases it is not patriarchy but the corporate capitalist economic system the artists concerned seek to criticize and rupture.
25 Lucy R. Lippard, Six Years: the Dematerialization of the Art Object from 1966 to 1972... (Berkeley: University of California Press, 1997),9.
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 15 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 9 through an online discussion facilitated by artist and writer Gregory Sholette as part of the Creative Time Summit: Revolutions in Public Practice. 23 Through a critical analysis of each of these projects from a feminist art perspective, 24 I propose that they offer a determinative lens and experiences of participating in alternative systems of exchange that act as points of resistance to the corporate capitalist market economy. In their interrogation and practice of alternative models, these projects also offer a space in which participants are able to perform various “ways to live without dropping out.”25 Common threads that run through this discussion are inquiries that seek to reveal how the selected projects are situated historically relative to social and participatory art practices. Additionally important are the strategies they use to counter the monetary economic system; the ways in which the projects are sustained monetarily by art institutions and negotiations and contradictions the artists confront as their work oscillates between art as symbolic representation and art as action. Specifically, participants are introduced to the possibility of moving towards sustainable economic practices, perhaps even a new economic paradigm, that values people and life on the planet over monetary profit. 23 Access this website to read and participate in the online discussion: http://creativetime.org/programs/archive/2010/summit/WP/ 24 I position the works of Caycedo, Cuevas, Aranda and Vidokle as a social practice in which the artistic forms of social interaction and performance function as tools critical of a dominant system that impacts on a personal level. There are striking similarities and strategies by feminist artists of the 1970s, although in these contemporary cases it is not patriarchy but the corporate capitalist economic system the artists concerned seek to criticize and rupture. 25 Lucy R. Lippard, Six Years: the Dematerialization of the Art Object from 1966 to 1972... (Berkeley: University of California Press, 1997),9. |
