Page 55 |
Save page Remove page | Previous | 55 of 70 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
49
Free information, the cultivation of networks, projects that are independent of the market, free art and educational institutions are a common form and intention of Vidokle’s work. Unlike the unacknowledged multitude of self-organized, non-institutional, autonomous artists and activists that Sholette describes as “creative dark matter,” Vidokle’s self-organized projects are largely recognized by the “formal art world.”95 His credibility and the attention he receives are at least partly a result of the 70,00096 people who subscribe to the e-flux daily news digest and the significant art institutions who purchase advertising space on the e-flux website. Conceptually, as Vidokle suggested in a presentation about the history of the project in one of the Unitednationsplaza seminars, e-flux also functions as an archive, a survey of the past ten years of exhibition making and, in a way, reflective of the market, a public sphere of discursive cultural production.97
While e-flux is self-sustaining as a result of the market, Aranda and Vidokle’s most recent project, Time/Bank, experiments with a system of non-monetary exchange that exists partially as an alternative economic model, but mostly as micro-economy parallel to the market. On October 15, 2009, as part of the Frieze Art Fair, Aranda and Vidokle presented Time/Bank as a one-day exhibition of original designs of time-based
95Sholette, Gregory. "Dark Matter: Activist Art and the Counter-Public Sphere%u201D." 2005, 1-23. Accessed November 7, 2010. http://www.gregorysholette.com/writings/writingpdfs/05_darkmattertwo.pdf.
96Brian Sholis, in Anton Vidokle: Produce, Distribute, Discuss, Repeat (New York: Lukas & Sternberg, 2009), 7.
97Unitednationsplaza - Daniel Birnbaum and Hans Ulrich Obrist in Conversation with Julieta Aranda and Anton Vidokle, Unitednationsplaza - Archive, accessed February 12, 2011, http://www.unitednationsplaza.org/video/41/.
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 55 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 49 Free information, the cultivation of networks, projects that are independent of the market, free art and educational institutions are a common form and intention of Vidokle’s work. Unlike the unacknowledged multitude of self-organized, non-institutional, autonomous artists and activists that Sholette describes as “creative dark matter,” Vidokle’s self-organized projects are largely recognized by the “formal art world.”95 His credibility and the attention he receives are at least partly a result of the 70,00096 people who subscribe to the e-flux daily news digest and the significant art institutions who purchase advertising space on the e-flux website. Conceptually, as Vidokle suggested in a presentation about the history of the project in one of the Unitednationsplaza seminars, e-flux also functions as an archive, a survey of the past ten years of exhibition making and, in a way, reflective of the market, a public sphere of discursive cultural production.97 While e-flux is self-sustaining as a result of the market, Aranda and Vidokle’s most recent project, Time/Bank, experiments with a system of non-monetary exchange that exists partially as an alternative economic model, but mostly as micro-economy parallel to the market. On October 15, 2009, as part of the Frieze Art Fair, Aranda and Vidokle presented Time/Bank as a one-day exhibition of original designs of time-based 95Sholette, Gregory. "Dark Matter: Activist Art and the Counter-Public Sphere%u201D." 2005, 1-23. Accessed November 7, 2010. http://www.gregorysholette.com/writings/writingpdfs/05_darkmattertwo.pdf. 96Brian Sholis, in Anton Vidokle: Produce, Distribute, Discuss, Repeat (New York: Lukas & Sternberg, 2009), 7. 97Unitednationsplaza - Daniel Birnbaum and Hans Ulrich Obrist in Conversation with Julieta Aranda and Anton Vidokle, Unitednationsplaza - Archive, accessed February 12, 2011, http://www.unitednationsplaza.org/video/41/. |
