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23
While the practices that “we do not find” – the non-market based exchanges – are not part of the global capitalist system, artists and communities continue to explore systems of non-monetary exchange that would have been familiar to pre-capitalist societies. In particular, it is not uncommon for people, especially those in precarious working conditions such as undocumented migrants and cultural workers, to informally adopt strategies of non-monetary exchange for purposes of survival. Hyde notes that scholarship on gift exchange has primarily emerged from the field of Anthropology because it is a practice that “…tends to be an economy of small groups, of extended families, small villages, close-knit communities, brotherhoods and of course tribes.”50
Extending outside the gallery and in direct exchange with individuals, the three art projects I have selected for consideration are integrated into the social landscape in the form of free services and skill sharing. These are also familiar practices in both ‘semi-autonomous and do-it-yourself’ The functionality of a project like Aranda and Vidokle’s time/bank is intended to increase the available resources between networks; in this case, a network of cultural production.
51
50 Lewis Hyde, The Gift: Creativity and the Artist in the Modern World (New York: Vintage Books, 2007), xxii. (DIY) subcultures and in non-Western societies that value gift giving and exchange as a social, political and economic practice. Looking at them as “dark matter of the art world,” Gregory Sholette describes that although DIY and activist practices significantly influence and inadvertently sustain the mainstream ‘culture industry’ that sometimes co-opts their practices, these informal subversive practitioners
51 Gregory Sholette, "Dark Matter: Activist Art and the Counter-Public Sphere" 2005, accessed November 7, 2010, http://www.gregorysholette.com/writings/writingpdfs/05_darkmattertwo.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 29 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 23 While the practices that “we do not find” – the non-market based exchanges – are not part of the global capitalist system, artists and communities continue to explore systems of non-monetary exchange that would have been familiar to pre-capitalist societies. In particular, it is not uncommon for people, especially those in precarious working conditions such as undocumented migrants and cultural workers, to informally adopt strategies of non-monetary exchange for purposes of survival. Hyde notes that scholarship on gift exchange has primarily emerged from the field of Anthropology because it is a practice that “…tends to be an economy of small groups, of extended families, small villages, close-knit communities, brotherhoods and of course tribes.”50 Extending outside the gallery and in direct exchange with individuals, the three art projects I have selected for consideration are integrated into the social landscape in the form of free services and skill sharing. These are also familiar practices in both ‘semi-autonomous and do-it-yourself’ The functionality of a project like Aranda and Vidokle’s time/bank is intended to increase the available resources between networks; in this case, a network of cultural production. 51 50 Lewis Hyde, The Gift: Creativity and the Artist in the Modern World (New York: Vintage Books, 2007), xxii. (DIY) subcultures and in non-Western societies that value gift giving and exchange as a social, political and economic practice. Looking at them as “dark matter of the art world,” Gregory Sholette describes that although DIY and activist practices significantly influence and inadvertently sustain the mainstream ‘culture industry’ that sometimes co-opts their practices, these informal subversive practitioners 51 Gregory Sholette, "Dark Matter: Activist Art and the Counter-Public Sphere" 2005, accessed November 7, 2010, http://www.gregorysholette.com/writings/writingpdfs/05_darkmattertwo.pdf. |
