Page 35 |
Save page Remove page | Previous | 35 of 70 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
29
other fields. She has also collaborated with activists, and one of her core concerns is to reach a wide audience so that her work might facilitate them to “question every day issues.”
57
Perceiving art institutions as spaces that can accommodate her larger social concerns, in a 2001 conversation with art critic and curator Hans Ulrich Obrist, Cuevas shared that she perceives the museum as one of many places through which to reach audiences. She states that “it’s only one of the tools, the internet or public interventions are also one of the mediums to reach all kinds of audience”
58 With a goal to make people question everyday issues and their connection to larger systems, Cuevas sees the MVC as social activism. As she shared with Ulrich Obrist, “I think about the MVC project in terms of social activism, but I am using mediums and institutions from the art context.” Her artistic intentions are concerned with how art can be useful in “social terms.”59
Cuevas’ MVC project is an example of how art can function beyond protest and engage in more immediate aid and exchange with the daily lives of the public. The strategy of taking on a corporate identity that offers free products and services under the name of a ‘better life’ brings attention to the position and conditions that corporations impose on our lives. By giving audiences products such as barcode stickers with lower prices, free subway tickets and even tear gas, the MVC arms its patrons and participants
57 Conversations Between Hans Ulrich Obrist and Minerva Cuevas at the First Event of the Project "Information/Misinformation" Part of the 24th Graphic Biennial in Ljubljana, Slovenia.," interview, Mejor Vida Corp., May 2001, accessed September 19, 2010, http://www.irational.org/mvc/english.html.
58 Ibid
59 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 35 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 29 other fields. She has also collaborated with activists, and one of her core concerns is to reach a wide audience so that her work might facilitate them to “question every day issues.” 57 Perceiving art institutions as spaces that can accommodate her larger social concerns, in a 2001 conversation with art critic and curator Hans Ulrich Obrist, Cuevas shared that she perceives the museum as one of many places through which to reach audiences. She states that “it’s only one of the tools, the internet or public interventions are also one of the mediums to reach all kinds of audience” 58 With a goal to make people question everyday issues and their connection to larger systems, Cuevas sees the MVC as social activism. As she shared with Ulrich Obrist, “I think about the MVC project in terms of social activism, but I am using mediums and institutions from the art context.” Her artistic intentions are concerned with how art can be useful in “social terms.”59 Cuevas’ MVC project is an example of how art can function beyond protest and engage in more immediate aid and exchange with the daily lives of the public. The strategy of taking on a corporate identity that offers free products and services under the name of a ‘better life’ brings attention to the position and conditions that corporations impose on our lives. By giving audiences products such as barcode stickers with lower prices, free subway tickets and even tear gas, the MVC arms its patrons and participants 57 Conversations Between Hans Ulrich Obrist and Minerva Cuevas at the First Event of the Project "Information/Misinformation" Part of the 24th Graphic Biennial in Ljubljana, Slovenia.," interview, Mejor Vida Corp., May 2001, accessed September 19, 2010, http://www.irational.org/mvc/english.html. 58 Ibid 59 Ibid |
