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21
reflect on the displacement of value; “Everything has value only in so far as it can be exchanged, not in so far as it is something in itself. For consumers the use value of art, its essence, is a fetish, and the fetish—the social valuation which they mistake for the merit of works of art—becomes its only use value, the only quality they enjoy.”
45
Writing about the social and spiritual bond that gifts possess, Lewis Hyde asserts, “Because of the bounding power of gifts and the detached nature of commodity exchange, gifts have become associated with community and with being obliged to others, while commodities are associated with alienation and freedom.” The notion of value applied to human relationships outside of the market mentality is brought into public discourse and action through the non-monetary exchanges of Caycedo’s Daytoday and e-flux’s Time/Bank.
46
Felix Gonzalez-Torres is often cited for his use of gifting as an artistic form. Audiences for his sculpture Untitled (Public Opinion) 1991 Instead of money, gifts in the form of objects or service secure a social bond and obligation that potentially cultivate a community where value takes on a different significance.
47
45 Theodor Adorno and Max Horkheimer, The Consumer Society Reader, ed. Juliet Schor and Douglas B. Holt (New York, NY: New Press, 2000), 128. , which comprised individually wrapped candies, were able to take away a piece as a gift offered as part of
46 Lewis Hyde, "The Bond," in The Gift: Creativity and the Artist in the Modern World (New York: Vintage Books, 2007), 88.
47 Gregory Sholette:“Gifts of Resistance,” an essay for the catalog Periferic 8: Art as Gift, Biennial for Contemporary Art, Iasi ROMANIA 10/03/08-10/18/08, Curated by Dora Hegyi pp. 129-137. http://neme.org/main/887/periferic 8http://www.gregorysholette.com/writings/writingpdfs/GiftsOfResistance.Perifieric..pdf.
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 27 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 21 reflect on the displacement of value; “Everything has value only in so far as it can be exchanged, not in so far as it is something in itself. For consumers the use value of art, its essence, is a fetish, and the fetish—the social valuation which they mistake for the merit of works of art—becomes its only use value, the only quality they enjoy.” 45 Writing about the social and spiritual bond that gifts possess, Lewis Hyde asserts, “Because of the bounding power of gifts and the detached nature of commodity exchange, gifts have become associated with community and with being obliged to others, while commodities are associated with alienation and freedom.” The notion of value applied to human relationships outside of the market mentality is brought into public discourse and action through the non-monetary exchanges of Caycedo’s Daytoday and e-flux’s Time/Bank. 46 Felix Gonzalez-Torres is often cited for his use of gifting as an artistic form. Audiences for his sculpture Untitled (Public Opinion) 1991 Instead of money, gifts in the form of objects or service secure a social bond and obligation that potentially cultivate a community where value takes on a different significance. 47 45 Theodor Adorno and Max Horkheimer, The Consumer Society Reader, ed. Juliet Schor and Douglas B. Holt (New York, NY: New Press, 2000), 128. , which comprised individually wrapped candies, were able to take away a piece as a gift offered as part of 46 Lewis Hyde, "The Bond," in The Gift: Creativity and the Artist in the Modern World (New York: Vintage Books, 2007), 88. 47 Gregory Sholette:“Gifts of Resistance,” an essay for the catalog Periferic 8: Art as Gift, Biennial for Contemporary Art, Iasi ROMANIA 10/03/08-10/18/08, Curated by Dora Hegyi pp. 129-137. http://neme.org/main/887/periferic 8http://www.gregorysholette.com/writings/writingpdfs/GiftsOfResistance.Perifieric..pdf. |
