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Concerns for social, economic and environmental justice have long influenced the use of social and participatory artistic strategies as forms of political activism and experimentation. Lucy Lippard’s critical treatise26 on feminist art practices of the 1970s, The Pink Glass Swan, for example, provides substantial historical reference for the development of feminist activist tactics that continue to be influential today. While more recent theoretical texts by Gregory Sholette offer an account of the “artistic dark matter of the art world”27, which he defines as “non-professional or informal, creativity,”28 and cite social and public art practices that, while influential in informing and sustaining the mainstream art world, are largely unrecognized or discredited by major art institutions and the contemporary art market. In a different article, Sholette expands on the creative dark matter that includes new media technologies and global networking, an advantage of neoliberalism, that has expanded access for more visible social productivity and autonomy from high art and mainstream market culture.29
The three case studies under consideration function as more than symbolic representations of resistance. They experiment with artistic forms that open up creative
26 Lippard, Lucy R. The Pink Glass Swan: Selected Essays on Feminist Art. New York: New Press, 1995.
27 Gregory Sholette, "Dark Matter: Activist Art and the Counter-Public Sphere," 2003, 2. http://www.gregorysholette.com/writings/writingpdfs/05_darkmattertwo.pdf.
28Gregory Sholette: “Dark Matter,Las Agencias, and the aesthetics of Tactical Embarrassment,” The Jounal of Aesthetics And Protest October 2003, volume 1, issue 2.
29 Gregory Sholette:“Gifts of Resistance,” an essay for the catalog Periferic 8: Art as Gift, Biennial for Contemporary Art, Iasi ROMANIA 10/03/08-10/18/08, Curated by Dora Hegyi pp. 129-137. http://neme.org/main/887/periferic 8http://www.gregorysholette.com/writings/writingpdfs/GiftsOfResistance.Perifieric..pdf.
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 16 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 10 Concerns for social, economic and environmental justice have long influenced the use of social and participatory artistic strategies as forms of political activism and experimentation. Lucy Lippard’s critical treatise26 on feminist art practices of the 1970s, The Pink Glass Swan, for example, provides substantial historical reference for the development of feminist activist tactics that continue to be influential today. While more recent theoretical texts by Gregory Sholette offer an account of the “artistic dark matter of the art world”27, which he defines as “non-professional or informal, creativity,”28 and cite social and public art practices that, while influential in informing and sustaining the mainstream art world, are largely unrecognized or discredited by major art institutions and the contemporary art market. In a different article, Sholette expands on the creative dark matter that includes new media technologies and global networking, an advantage of neoliberalism, that has expanded access for more visible social productivity and autonomy from high art and mainstream market culture.29 The three case studies under consideration function as more than symbolic representations of resistance. They experiment with artistic forms that open up creative 26 Lippard, Lucy R. The Pink Glass Swan: Selected Essays on Feminist Art. New York: New Press, 1995. 27 Gregory Sholette, "Dark Matter: Activist Art and the Counter-Public Sphere," 2003, 2. http://www.gregorysholette.com/writings/writingpdfs/05_darkmattertwo.pdf. 28Gregory Sholette: “Dark Matter,Las Agencias, and the aesthetics of Tactical Embarrassment,” The Jounal of Aesthetics And Protest October 2003, volume 1, issue 2. 29 Gregory Sholette:“Gifts of Resistance,” an essay for the catalog Periferic 8: Art as Gift, Biennial for Contemporary Art, Iasi ROMANIA 10/03/08-10/18/08, Curated by Dora Hegyi pp. 129-137. http://neme.org/main/887/periferic 8http://www.gregorysholette.com/writings/writingpdfs/GiftsOfResistance.Perifieric..pdf. |
