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5
to get at the problematic nature of his chosen topic while also remaining
somewhat politically neutral and self-reflexive in the face of any potential anger
or unrest that his content may have caused for those who engaged with it. Deller
implied that the use of the phrase was a precautionary measure and could
ultimately be seen as a kind gesture to his participants who were often opening
old wounds to engage with the given theme. Despite Deller describing his use of
the contentious subject as his way of “digging around in a wound to see what
would happen,” it is evident that he had good intentions.8 A self-proclaimed
provocateur, he was willing to make a bold statement as long as he felt that he
could back it up with a meaningful exchange. This was exhibited through the
piece’s numerous sites of production and its applicability to recent developments
within social practice. Its noteworthy characteristics, such as its mobility, “post
activist” positioning and institutional apparatus all draw attention to Deller’s
provocative yet meaningful intentions.
8 Jeremy Deller, interview by author, telephone from Los Angeles to London, February 4, 2011.
Object Description
| Title | Sites of production: An examination of Jeremy Deller's It is what it is: Conversations about Iraq |
| Author | Kopp, Rebecca Nichole |
| Author email | rkopp@usc.edu; rnkopp@gmail.com |
| Degree | Master of Public Art Studies |
| Document type | Thesis |
| Degree program | Public Art Studies |
| School | School of Fine Arts |
| Date defended/completed | 2011-05 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-05-04 |
| Advisor (committee chair) | Holte, Michael Ned |
| Advisor (committee member) |
Jacob, Mary Jane Decter, Joshua |
| Abstract | For little over a decade artistic practice in the United States has become intently “focused upon on the sphere of inter-human relations” (Nicolas Bourriaud). Contemporary theorists have presented a variety of ideas concerning the resurgence of this artistic tendency that emerged half a century ago. Using It Is What It Is: Conversations About Iraq, which was presented across the U.S. and at three major museums in 2009 by British Turner prize-winning artist Jeremy Deller, as case study to further delineate this artistic form of expression, this thesis addresses recent theoretical developments within the broader social practice movement. Deller’s project emphasized the complicated nature of these theories in action within the contemporary moment, and testified to its heightened use in the public sphere through shifts higher education and institutional programming. The evaluation of Deller’s piece emphasizes the art-historical importance of this work and more broadly contends with the contemporary conflict between those who debate art’s ability to transform consciousness within the public sphere. |
| Keyword | social practice; Jeremy Deller; Iraq; dialogical practice; public sphere; public art |
| Geographic subject (country) | Iraq; USA |
| Coverage date | 2000/2010 |
| 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-m3881 |
| Contributing entity | University of Southern California |
| Rights | Kopp, Rebecca Nichole |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Kopp-4545 |
| Archival file | uscthesesreloadpub_Volume26/etd-Kopp-4545.pdf |
Description
| Title | Page 10 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 5 to get at the problematic nature of his chosen topic while also remaining somewhat politically neutral and self-reflexive in the face of any potential anger or unrest that his content may have caused for those who engaged with it. Deller implied that the use of the phrase was a precautionary measure and could ultimately be seen as a kind gesture to his participants who were often opening old wounds to engage with the given theme. Despite Deller describing his use of the contentious subject as his way of “digging around in a wound to see what would happen,” it is evident that he had good intentions.8 A self-proclaimed provocateur, he was willing to make a bold statement as long as he felt that he could back it up with a meaningful exchange. This was exhibited through the piece’s numerous sites of production and its applicability to recent developments within social practice. Its noteworthy characteristics, such as its mobility, “post activist” positioning and institutional apparatus all draw attention to Deller’s provocative yet meaningful intentions. 8 Jeremy Deller, interview by author, telephone from Los Angeles to London, February 4, 2011. |
