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24
work from a marginalized position and gain no monetary recognition for their contributions. Because of their assertion of autonomy, they rely on collaboration and social capital as an important resource within the field of cultural production and among social practitioners.
In an article “Gifts of Resistance,” Sholette maintains that informal creative means of social production are assertions of autonomy “from not only the high art, but also mainstream market culture.”52 In light of his claim, he then poses a question of significance to this thesis: “How then do we reconcile this fact with the simultaneous rise of the multi-million dollar, global art market?”53
Although global neoliberal policies have brought on crisis, the affordances of global networking and exchange that have come with them have expanded opportunities for previously underrepresented artists. An example of this is the exhibition Mexico City: An Exhibition About the Exchange Rates of Bodies and Values at P.S. 1 New York in 2002, which included Cuevas’ MVC. Focusing on MVC, the next chapter of this thesis highlights the functionality of art in everyday lives in the social sphere and urban public space, and considers the goal of creating a better life.
52 Gregory Sholette, 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
53 Ibid, p. 1
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 30 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 24 work from a marginalized position and gain no monetary recognition for their contributions. Because of their assertion of autonomy, they rely on collaboration and social capital as an important resource within the field of cultural production and among social practitioners. In an article “Gifts of Resistance,” Sholette maintains that informal creative means of social production are assertions of autonomy “from not only the high art, but also mainstream market culture.”52 In light of his claim, he then poses a question of significance to this thesis: “How then do we reconcile this fact with the simultaneous rise of the multi-million dollar, global art market?”53 Although global neoliberal policies have brought on crisis, the affordances of global networking and exchange that have come with them have expanded opportunities for previously underrepresented artists. An example of this is the exhibition Mexico City: An Exhibition About the Exchange Rates of Bodies and Values at P.S. 1 New York in 2002, which included Cuevas’ MVC. Focusing on MVC, the next chapter of this thesis highlights the functionality of art in everyday lives in the social sphere and urban public space, and considers the goal of creating a better life. 52 Gregory Sholette, 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 53 Ibid, p. 1 |
