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62
think about ways of moving out of confinement or towards an ideological shift or paradigm, requires an acute awareness, a consciousness about one’s position.
The creative actions of the artists discussed in this thesis exemplify experiments in social and participatory practice that have the potential to not only raise awareness, but to also provide a space for publics to experience, through action, models towards economic and social change. Through their social practices in generosity and non-monetary exchange, artists and participants alike perform collaborative resistance and alternatives to the capitalist market. The creative spaces they generate together provide opportunities for the “multitude” to engage in “practical experimentation” and offer “models that will determine when and how the possible becomes real.” As suggested by Hardt and Negri, the projects discussed here provide opportunities to act against the confines of empire, even if the acts are “poetic gestures” and, as suggested by Lucy Lippard, to discover a choice of “ways to live without dropping out”. In other words, the cultivation of social networks, both online and on land, that are based on generosity and non-monetary exchange, can generate possibilities toward an ideological shift in the understanding and practice of “value” and “wealth”. Such a shift must be a prerequisite if market economies, to paraphrase Julia Bryan Wilson, are to cease being the oxygen we breathe and give way instead to economic sustainability and social change110.
110 Bryan Wilson, "Markets" (keynote presentation, Creative Time Summit: Revolutions in Public Practice, Cooper Union Great Hall, New York City, October 9, 2010), accessed February 07, 2011, http://creativetime.org/programs/archive/2010/summit/WP/2010/10/10/julia-bryan-wilson/.
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 68 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 62 think about ways of moving out of confinement or towards an ideological shift or paradigm, requires an acute awareness, a consciousness about one’s position. The creative actions of the artists discussed in this thesis exemplify experiments in social and participatory practice that have the potential to not only raise awareness, but to also provide a space for publics to experience, through action, models towards economic and social change. Through their social practices in generosity and non-monetary exchange, artists and participants alike perform collaborative resistance and alternatives to the capitalist market. The creative spaces they generate together provide opportunities for the “multitude” to engage in “practical experimentation” and offer “models that will determine when and how the possible becomes real.” As suggested by Hardt and Negri, the projects discussed here provide opportunities to act against the confines of empire, even if the acts are “poetic gestures” and, as suggested by Lucy Lippard, to discover a choice of “ways to live without dropping out”. In other words, the cultivation of social networks, both online and on land, that are based on generosity and non-monetary exchange, can generate possibilities toward an ideological shift in the understanding and practice of “value” and “wealth”. Such a shift must be a prerequisite if market economies, to paraphrase Julia Bryan Wilson, are to cease being the oxygen we breathe and give way instead to economic sustainability and social change110. 110 Bryan Wilson, "Markets" (keynote presentation, Creative Time Summit: Revolutions in Public Practice, Cooper Union Great Hall, New York City, October 9, 2010), accessed February 07, 2011, http://creativetime.org/programs/archive/2010/summit/WP/2010/10/10/julia-bryan-wilson/. |
