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13
CHAPTER 1: SHIFTS TOWARDS NON-OBJECT ART AND ART AS SOCIAL PRACTICE
"A developed feminist consciousness brings with it an altered concept of reality and morality that is crucial to the art being made and to the lives lived with that art."
- Lucy Lippard31
Art provides a space for imagining and experiencing complex ideas and concepts. It also provides a space for artists and audiences to question and challenge existing systems and hierarchies. A shift from art in the galleries to art in the streets has happened at various points in art historical narratives and social political movements. Numerous examples are located in histories of artistic and cultural production. In particular, feminist art practices of the 1970s exemplify a period when art challenged a dominant paradigm. It was a fundamental concern of feminist artists to radically influence social change and undermine the dominant perspective of patriarchy, not only within the art world but also in wider society. As Lucy Lippard wrote, “…feminists are more willing than others to accept the notion that art can be aesthetically and socially effective at the same time.”32
Offering examples of such willingness, feminist artists Suzanne Lacy and Monica Mayer, among others active at the Los Angeles Women’s Building in the 1970s, influenced a collaborative process between artists and activists and worked (continue to work) with communities to explore artistic and activist strategies of social engagement
31 “Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s” in The Pink Glass Swan: Selected Feminist Essays on Art The New Press: New York, Lucy Lippard, 1995, 177
32 Ibid. 178
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 19 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 13 CHAPTER 1: SHIFTS TOWARDS NON-OBJECT ART AND ART AS SOCIAL PRACTICE "A developed feminist consciousness brings with it an altered concept of reality and morality that is crucial to the art being made and to the lives lived with that art." - Lucy Lippard31 Art provides a space for imagining and experiencing complex ideas and concepts. It also provides a space for artists and audiences to question and challenge existing systems and hierarchies. A shift from art in the galleries to art in the streets has happened at various points in art historical narratives and social political movements. Numerous examples are located in histories of artistic and cultural production. In particular, feminist art practices of the 1970s exemplify a period when art challenged a dominant paradigm. It was a fundamental concern of feminist artists to radically influence social change and undermine the dominant perspective of patriarchy, not only within the art world but also in wider society. As Lucy Lippard wrote, “…feminists are more willing than others to accept the notion that art can be aesthetically and socially effective at the same time.”32 Offering examples of such willingness, feminist artists Suzanne Lacy and Monica Mayer, among others active at the Los Angeles Women’s Building in the 1970s, influenced a collaborative process between artists and activists and worked (continue to work) with communities to explore artistic and activist strategies of social engagement 31 “Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s” in The Pink Glass Swan: Selected Feminist Essays on Art The New Press: New York, Lucy Lippard, 1995, 177 32 Ibid. 178 |
