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59
experiment with models of non-monetary exchanges without the monetary support of institutions or monetary capital? For now, it seems that social art practices that model forms of alternative economies are functioning more along the lines of parallel micro-economies than as a viable alternative to profit driven market economics.
My exploration of various creative ways in which non-monetary exchange is being operated as a social and participatory strategy in arts practice is motivated by the possibility that these strategies have the capacity to affect change through the practice of ideas. The arts and art production offer the freedom to explore, experiment, communicate and participate with concepts that might well be rejected outside the creative space of the art world. Art nurtures spaces of freedom in which to explore concepts of alterity; spaces in which the apparently impossible becomes possible and, to again quote Hardt and Negri, “the possible becomes real.”109
As I have presented, artists are exploring concepts and actions that are critical of the dominant economic system, the cause of social and environmental injustices and damage. The space of art that they and their projects inhabit provides a space of temporary autonomy, which affords the freedom to not only voice dissent and imagine what else might be possible, but also to create alternatives and invite others to share in both the imagining and the experience. In that space of liminality there is potential for transformation.
109 Hardt, Michael, and Antonio Negri Empire Empire (Cambridge, MA: Harvard University Press, 2001), 411.
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 65 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 59 experiment with models of non-monetary exchanges without the monetary support of institutions or monetary capital? For now, it seems that social art practices that model forms of alternative economies are functioning more along the lines of parallel micro-economies than as a viable alternative to profit driven market economics. My exploration of various creative ways in which non-monetary exchange is being operated as a social and participatory strategy in arts practice is motivated by the possibility that these strategies have the capacity to affect change through the practice of ideas. The arts and art production offer the freedom to explore, experiment, communicate and participate with concepts that might well be rejected outside the creative space of the art world. Art nurtures spaces of freedom in which to explore concepts of alterity; spaces in which the apparently impossible becomes possible and, to again quote Hardt and Negri, “the possible becomes real.”109 As I have presented, artists are exploring concepts and actions that are critical of the dominant economic system, the cause of social and environmental injustices and damage. The space of art that they and their projects inhabit provides a space of temporary autonomy, which affords the freedom to not only voice dissent and imagine what else might be possible, but also to create alternatives and invite others to share in both the imagining and the experience. In that space of liminality there is potential for transformation. 109 Hardt, Michael, and Antonio Negri Empire Empire (Cambridge, MA: Harvard University Press, 2001), 411. |
