Page 42 |
Save page Remove page | Previous | 42 of 70 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
36
an unpredictable income source. The project was a social art experiment that confronted the question of, how are basic needs met and attained in precarious economic conditions?
The artist was particularly interested in testing out Hakim Bey’s theory of the Temporary Autonomous Zone (TAZ), which posits the liberation of privatized space via an ephemeral action in time and space. The notion of autonomy in this regard can extend beyond physical space to encompass mental and psychological spaces and consciousness. Examples of TAZ include guerilla gardens, the existence of free software, commercial music and movies on the Internet, and creative acts of access and resistance to restricted sites of commerce and oppressive forces.
Caycedo’s work also reflects an artistic practice associated with the late 1990s and early 2000s that Nicolas Bourriaud terms Relational Aesthetics. In his description of an emerging art form, he declares “Art is the place that produces a specific sociability”.71 His book identifies artists’ practices that explore the creation of moments of opportunity for relational interactions and exchanges (especially in the urban context), which can potentially highlight, outside of a capitalist logic, the relative nature of life. Bourriaud shares that a relational aesthetics is, “An art taking as its theoretical horizon the realm of human interaction and its social context, rather than the assertion of an independent and private symbolic space…”72
Daytoday took place in the streets with a van that was provided by funding from art institutions and galleries. Similar to the mobile cart that held objects for trade in
71Nicolas Bourriaud, Nicolas Bourriaud: Relational Aesthetics. (Paris: Les Presses Du Reel, 2002),16.
72 Ibid, 14
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 42 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 36 an unpredictable income source. The project was a social art experiment that confronted the question of, how are basic needs met and attained in precarious economic conditions? The artist was particularly interested in testing out Hakim Bey’s theory of the Temporary Autonomous Zone (TAZ), which posits the liberation of privatized space via an ephemeral action in time and space. The notion of autonomy in this regard can extend beyond physical space to encompass mental and psychological spaces and consciousness. Examples of TAZ include guerilla gardens, the existence of free software, commercial music and movies on the Internet, and creative acts of access and resistance to restricted sites of commerce and oppressive forces. Caycedo’s work also reflects an artistic practice associated with the late 1990s and early 2000s that Nicolas Bourriaud terms Relational Aesthetics. In his description of an emerging art form, he declares “Art is the place that produces a specific sociability”.71 His book identifies artists’ practices that explore the creation of moments of opportunity for relational interactions and exchanges (especially in the urban context), which can potentially highlight, outside of a capitalist logic, the relative nature of life. Bourriaud shares that a relational aesthetics is, “An art taking as its theoretical horizon the realm of human interaction and its social context, rather than the assertion of an independent and private symbolic space…”72 Daytoday took place in the streets with a van that was provided by funding from art institutions and galleries. Similar to the mobile cart that held objects for trade in 71Nicolas Bourriaud, Nicolas Bourriaud: Relational Aesthetics. (Paris: Les Presses Du Reel, 2002),16. 72 Ibid, 14 |
