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31
trade movement.
61 In the gallery she displays ephemera of the co-operatives including tokens that were given to co-op members as proof of their co-op purchases. In addition, she designed her own coins that were manufactured by the Mexican Mint and distributed as a local currency amongst market traders in the Petticoat Lane Market area.62 The coins she designed were inscribed with text “Bread and Honey” and “The Right To Rebellion Is Sacred 2009,” and included an image of a fist in the center. Figure 2.3
The coins could be redeemed at an ice-cream parlour she set-up near the market on Toynbee Street. S.COOP, 2009 shows Cuevas’ commitment in artistic urban interventions to engage publics in non-capitalist gestures.
As an individual and an artist who is represented in the international art market by a successful gallery, Cuevas is well placed to experiment and explore strategies of generosity and social exchange towards a better life. Outside of the art world, such a practice might be seen as charity, which lacks the political intention of mobilizing people
61 Coline Milliard. “Minerva Cuevas: S.COOP” Reviews in Art Monthly May 5, 2009.p.326
62 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 37 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 31 trade movement. 61 In the gallery she displays ephemera of the co-operatives including tokens that were given to co-op members as proof of their co-op purchases. In addition, she designed her own coins that were manufactured by the Mexican Mint and distributed as a local currency amongst market traders in the Petticoat Lane Market area.62 The coins she designed were inscribed with text “Bread and Honey” and “The Right To Rebellion Is Sacred 2009,” and included an image of a fist in the center. Figure 2.3 The coins could be redeemed at an ice-cream parlour she set-up near the market on Toynbee Street. S.COOP, 2009 shows Cuevas’ commitment in artistic urban interventions to engage publics in non-capitalist gestures. As an individual and an artist who is represented in the international art market by a successful gallery, Cuevas is well placed to experiment and explore strategies of generosity and social exchange towards a better life. Outside of the art world, such a practice might be seen as charity, which lacks the political intention of mobilizing people 61 Coline Milliard. “Minerva Cuevas: S.COOP” Reviews in Art Monthly May 5, 2009.p.326 62 Ibid |
