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34
with people in the city. The collective set up objects for barter at the Plaza de San Victorino in El Cartucho, the center of Bogotá.
66 In What we want is Free: Generosity and Exchange in Recent Art, Purves describes that the collective made a portable street cart “modeled on the types of carts used by street recyclers or peddlers, which functioned as an open space for bartering.”67 Commodities held in the cart were bartered in non-monetary exchanges with people in El Cartucho. The objects the artists garnered were then exhibited in the street as a representation of the direct exchanges with the people of the neighborhood.
Figure 3.4: Carolina Caycedo Figure 4.4 Museo de la Calle
In Caycedo’s self-published book, which addresses seven years of Datoday, Pablo Leon De la Barra describes the collection of objects as “a cartography of the life and trade of El Cartucho.”68
66 Ibid, p.68 Museo de la Calle creaetd a practice of social exchange that
67 Ted Purves, What We Want Is Free: Generosity and Exchange in Recent Art (Albany, NY: State University of New York Press, 2005), 143.
68 Pablo Leon de la Barra, “Existing Outside The Art Economy: Carolina Caycedo’s Daytoday Project” in Daytoday 2002-2009, ((ed. Carolina Caycedo) www.Lulu.com (2009), p. 68
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 40 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 34 with people in the city. The collective set up objects for barter at the Plaza de San Victorino in El Cartucho, the center of Bogotá. 66 In What we want is Free: Generosity and Exchange in Recent Art, Purves describes that the collective made a portable street cart “modeled on the types of carts used by street recyclers or peddlers, which functioned as an open space for bartering.”67 Commodities held in the cart were bartered in non-monetary exchanges with people in El Cartucho. The objects the artists garnered were then exhibited in the street as a representation of the direct exchanges with the people of the neighborhood. Figure 3.4: Carolina Caycedo Figure 4.4 Museo de la Calle In Caycedo’s self-published book, which addresses seven years of Datoday, Pablo Leon De la Barra describes the collection of objects as “a cartography of the life and trade of El Cartucho.”68 66 Ibid, p.68 Museo de la Calle creaetd a practice of social exchange that 67 Ted Purves, What We Want Is Free: Generosity and Exchange in Recent Art (Albany, NY: State University of New York Press, 2005), 143. 68 Pablo Leon de la Barra, “Existing Outside The Art Economy: Carolina Caycedo’s Daytoday Project” in Daytoday 2002-2009, ((ed. Carolina Caycedo) www.Lulu.com (2009), p. 68 |
