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14
and public performance to reach a mass audience. The group Adriadne: A Social Art Network, founded by Leslie Labowitz and Lacy, employed interdisciplinary tactics, incorporating collective strategic organizing and staged collaborative public performances to attract the attention of the media. Conscious of the power of the media, they staged spectacles to address specific feminist issues with acute awareness about how the images they produced would be perceived in the public domain.
33 Giving credit specifically to artists involved with the Los Angeles Women’s Building in the 1970s, Grant Kester notes: “These artists combined techniques developed in the feminist movement (consciousness-raising groups, the analysis of self-other relationships) with artistic strategies drawn from Kaprow’s happenings and performance art to create what [Cheri] Gaulke termed a “new aesthetic, informed by the collective experience of the feminist educational process.”34
The role of feminist art practices in aiding a social shift away from the dominant system of patriarchy exemplifies the way in which art can impact the world. Feminist artists, activists and writers opened up discursive paths, facilitated the acknowledgement, inclusion and visibility of women artists in art and educational institutions and formulated a critique of the modernist art historical canon.
35
33 Lucy Lippard. “Issue and Taboo” in The Pink Glass Swan Selected Feminist Essays on Art The New Press: New York, Lucy Lippard, 1995. 158 Lippard identifies feminist values and
34 Grant H. Kester, Conversation Pieces: Community and Communication in Modern Art (Berkeley: University of California Press, 2004), 125.
35 Griselda Pollack provides more on this topic in Vision and Difference: Feminism, Femininity and the Histories of Art (London: Routledge, 2008)
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 20 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 14 and public performance to reach a mass audience. The group Adriadne: A Social Art Network, founded by Leslie Labowitz and Lacy, employed interdisciplinary tactics, incorporating collective strategic organizing and staged collaborative public performances to attract the attention of the media. Conscious of the power of the media, they staged spectacles to address specific feminist issues with acute awareness about how the images they produced would be perceived in the public domain. 33 Giving credit specifically to artists involved with the Los Angeles Women’s Building in the 1970s, Grant Kester notes: “These artists combined techniques developed in the feminist movement (consciousness-raising groups, the analysis of self-other relationships) with artistic strategies drawn from Kaprow’s happenings and performance art to create what [Cheri] Gaulke termed a “new aesthetic, informed by the collective experience of the feminist educational process.”34 The role of feminist art practices in aiding a social shift away from the dominant system of patriarchy exemplifies the way in which art can impact the world. Feminist artists, activists and writers opened up discursive paths, facilitated the acknowledgement, inclusion and visibility of women artists in art and educational institutions and formulated a critique of the modernist art historical canon. 35 33 Lucy Lippard. “Issue and Taboo” in The Pink Glass Swan Selected Feminist Essays on Art The New Press: New York, Lucy Lippard, 1995. 158 Lippard identifies feminist values and 34 Grant H. Kester, Conversation Pieces: Community and Communication in Modern Art (Berkeley: University of California Press, 2004), 125. 35 Griselda Pollack provides more on this topic in Vision and Difference: Feminism, Femininity and the Histories of Art (London: Routledge, 2008) |
