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16
The desire to dismantle the commodity status of art by emphasizing the concept of a work rather than its aesthetics, or by the related dematerialization of the art object, was an interest and practice of art from the mid 1960s through the 1970s. At this time artists’ criticisms of capitalist practices were largely centered within the art world and often addressed the corporate practices of art institutions. Artists conceptualized and positioned themselves as workers and in the same way, as labor activists, they demanded workers’ rights. For example, during the period 1969-1971, the Art Workers’ Coalition (AWC), a group of artists and critics from New York, identified themselves as artist/laborers and demanded artist labor rights. They publicly protested exploitive museum practices such as the absence or exclusion of women and artists of color. In 1969 they presented New York’s Museum of Modern Art with a list of thirteen demands, including: “a royalties system by which collectors would pay artists a percentage of profits from the resale of their work...the creation of a trust fund that would provide living artists ‘stipends, health insurance, help for artists’ dependents and other social benefits’…”37
AWC was also active in protesting the US military involvement in Southeast Asia. Other demands included extended museum hours and free admission, the one demand that was achieved. The AWC used tactics that parallel feminist public practice in their effort to influence change.
38
37 Gregory Sholette, “State of the Union” ArtForum, April 2008 Artist Hans Haacke, an AWC member, exhibited MOMA-Poll, 1970 at the Museum of Modern Art, New York (MoMA) to reveal economic and political
38 Ibid
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 22 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 16 The desire to dismantle the commodity status of art by emphasizing the concept of a work rather than its aesthetics, or by the related dematerialization of the art object, was an interest and practice of art from the mid 1960s through the 1970s. At this time artists’ criticisms of capitalist practices were largely centered within the art world and often addressed the corporate practices of art institutions. Artists conceptualized and positioned themselves as workers and in the same way, as labor activists, they demanded workers’ rights. For example, during the period 1969-1971, the Art Workers’ Coalition (AWC), a group of artists and critics from New York, identified themselves as artist/laborers and demanded artist labor rights. They publicly protested exploitive museum practices such as the absence or exclusion of women and artists of color. In 1969 they presented New York’s Museum of Modern Art with a list of thirteen demands, including: “a royalties system by which collectors would pay artists a percentage of profits from the resale of their work...the creation of a trust fund that would provide living artists ‘stipends, health insurance, help for artists’ dependents and other social benefits’…”37 AWC was also active in protesting the US military involvement in Southeast Asia. Other demands included extended museum hours and free admission, the one demand that was achieved. The AWC used tactics that parallel feminist public practice in their effort to influence change. 38 37 Gregory Sholette, “State of the Union” ArtForum, April 2008 Artist Hans Haacke, an AWC member, exhibited MOMA-Poll, 1970 at the Museum of Modern Art, New York (MoMA) to reveal economic and political 38 Ibid |
