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11
social and public spaces for audience participation. In these social spaces the audience/participant becomes a part of social and cultural networks. Not only do they cultivate social networks online through the Internet, they also manifest as social networks in real time and physical space.
It is hard to ignore the impact of social networking when the recent Egyptian Revolution has demonstrated the power of people in communication and mobilized for change. Journalists for Al Jazeera English have used the term “weapons of mass mobilization”30
Economies of generosity have evolved through global access and exchange on the Internet as a site of “the commons” where information and knowledge are freely distributed. Although the Internet is currently also in threat of being privatized by corporate economic forces, the notion of “the commons” has been located in theoretical discussions of the Internet and new media technologies. Hardt and Negri provide some insight for this discussion, which is especially relevant to the work of the e-flux Time/Bank and MVC. to describe the influence of online social networking as an organizing tool that facilitated mass mobilization. The three artists’ projects in question have all depended on the Internet as a site for their work.
The three artworks I examine create and perform functioning alternatives that consciously work within the public realm to reach and engage a wider audience in and
30AlJazeeraEnglish, "Empire-Social Networks, Social Revolution," Democracy Now!, February 17, 2011, accessed February 17, 2011, http://www.democracynow.org/blog/2011/2/17/amy_goodman_on_al_jazeera_english_empire__social_networks_social_revolution.
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 17 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 11 social and public spaces for audience participation. In these social spaces the audience/participant becomes a part of social and cultural networks. Not only do they cultivate social networks online through the Internet, they also manifest as social networks in real time and physical space. It is hard to ignore the impact of social networking when the recent Egyptian Revolution has demonstrated the power of people in communication and mobilized for change. Journalists for Al Jazeera English have used the term “weapons of mass mobilization”30 Economies of generosity have evolved through global access and exchange on the Internet as a site of “the commons” where information and knowledge are freely distributed. Although the Internet is currently also in threat of being privatized by corporate economic forces, the notion of “the commons” has been located in theoretical discussions of the Internet and new media technologies. Hardt and Negri provide some insight for this discussion, which is especially relevant to the work of the e-flux Time/Bank and MVC. to describe the influence of online social networking as an organizing tool that facilitated mass mobilization. The three artists’ projects in question have all depended on the Internet as a site for their work. The three artworks I examine create and perform functioning alternatives that consciously work within the public realm to reach and engage a wider audience in and 30AlJazeeraEnglish, "Empire-Social Networks, Social Revolution," Democracy Now!, February 17, 2011, accessed February 17, 2011, http://www.democracynow.org/blog/2011/2/17/amy_goodman_on_al_jazeera_english_empire__social_networks_social_revolution. |
