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15
tendencies as “…collaboration, dialogue, a constant questioning of aesthetic and social assumptions, and a new respect for audience. Feminism’s contribution to the evolution of art reveals itself not in shapes but in structures. Only new structures bear the possibility of changing the vehicle itself, the meaning of art in society.”
36
Those new structures of artistic practice could be identified as experimentation, performance, social interactivity and participation with audiences and discursive forms of a public practice. Feminist artists, activists and collaborators pushed to make room for a diversity of women, for feminist and social concerns of race, class and gender. Their work contributed immensely towards a shift in collaborative, collective, participatory, social and public practices in art and social consciousness.
With a strong history of addressing the inequalities of the labor market and exploring the often unpaid and/or undervalued labor of domestic work, a feminist perspective problematizes the notion of gift economies and non-monetary exchange. With such works as Touch Sanitation (1980), in which she shook hands with and personally thanked more than 8,500 sanitation workers from the New York City Department of Sanitation, Mierle Laderman Ukeles acknowledged a vast undervalued labor force. While Caycedo’s Daytoday project and the Time/Bank of e-flux both bring into question the value of the work of cultural producers in a market economy. In particular, these projects bring to light the value of social and cultural capital as a form of non-monetary wealth and a resource within informal and formal networks.
36 Ibid, 174
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 21 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 15 tendencies as “…collaboration, dialogue, a constant questioning of aesthetic and social assumptions, and a new respect for audience. Feminism’s contribution to the evolution of art reveals itself not in shapes but in structures. Only new structures bear the possibility of changing the vehicle itself, the meaning of art in society.” 36 Those new structures of artistic practice could be identified as experimentation, performance, social interactivity and participation with audiences and discursive forms of a public practice. Feminist artists, activists and collaborators pushed to make room for a diversity of women, for feminist and social concerns of race, class and gender. Their work contributed immensely towards a shift in collaborative, collective, participatory, social and public practices in art and social consciousness. With a strong history of addressing the inequalities of the labor market and exploring the often unpaid and/or undervalued labor of domestic work, a feminist perspective problematizes the notion of gift economies and non-monetary exchange. With such works as Touch Sanitation (1980), in which she shook hands with and personally thanked more than 8,500 sanitation workers from the New York City Department of Sanitation, Mierle Laderman Ukeles acknowledged a vast undervalued labor force. While Caycedo’s Daytoday project and the Time/Bank of e-flux both bring into question the value of the work of cultural producers in a market economy. In particular, these projects bring to light the value of social and cultural capital as a form of non-monetary wealth and a resource within informal and formal networks. 36 Ibid, 174 |
