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60
Feminist artists created work that criticized the dominance of patriarchy and, using their art to collaborate with activists and others, they generated sparks that affected change towards a paradigmatic shift. Similarly, the projects I have described generously grant space for participants to themselves engage in acts of generosity and non-monetary exchange. By providing the experience of social interaction outside of the dominant market economy, these projects have the potential to ignite sparks of generosity that affect change away from corporate capitalism towards a more sustainable economic practice. When gifts are offered, these art projects suggest, there is potential for transformation.
Among contemporary global voices of resistance and dissent there is the persistence of a movement towards change that is imagined. For if something can be imagined, then the potential for that imaginary to be realized exists. In the space of creativity and “practical experimentation” they generate and occupy, artists, activists and cultural producers are motivated to explore strategies of social and participatory art practices. In the space of dreams and imagination there is the potential for that imaginary of another possible world to be realized through creative experimentation as a social practice.
In a market-driven economy people’s skills and knowledge are not always given the value they deserve. In barter practices like that of Caycedo or time banking, ideas of skill- and knowledge-related value are reevaluated. An advantage of the creative projects I have discussed is that they engage directly with the social and in the city space (for Cuevas and Caycedo), giving and exchanging services and objects for free directly with
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 66 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 60 Feminist artists created work that criticized the dominance of patriarchy and, using their art to collaborate with activists and others, they generated sparks that affected change towards a paradigmatic shift. Similarly, the projects I have described generously grant space for participants to themselves engage in acts of generosity and non-monetary exchange. By providing the experience of social interaction outside of the dominant market economy, these projects have the potential to ignite sparks of generosity that affect change away from corporate capitalism towards a more sustainable economic practice. When gifts are offered, these art projects suggest, there is potential for transformation. Among contemporary global voices of resistance and dissent there is the persistence of a movement towards change that is imagined. For if something can be imagined, then the potential for that imaginary to be realized exists. In the space of creativity and “practical experimentation” they generate and occupy, artists, activists and cultural producers are motivated to explore strategies of social and participatory art practices. In the space of dreams and imagination there is the potential for that imaginary of another possible world to be realized through creative experimentation as a social practice. In a market-driven economy people’s skills and knowledge are not always given the value they deserve. In barter practices like that of Caycedo or time banking, ideas of skill- and knowledge-related value are reevaluated. An advantage of the creative projects I have discussed is that they engage directly with the social and in the city space (for Cuevas and Caycedo), giving and exchanging services and objects for free directly with |
