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7
cross-country tour. The presentations in the museums and on the road were seen
by Deller as separate initiatives. They had different curatorial and financial
support and Deller’s interest and participation within each varied. These
differences raised questions related to his authorial perspective on working within
museums versus with smaller organizations in the public. Deller seemed more
interested in what the American landscape would generate. He trusted the
museums to collaborate with him on a curatorial level, in presenting the work in a
meaningful way - so his lack of participation in that capacity came as no surprise
to the museums. These and many more pertinent issues were raised by this
project as it was complexly collaborative. Social practice is a movement that is
not just dependent on the creator and participant but which places great emphasis
on the mutual respect and trust that comes from generating meaning collectively.
Deller’s work is a shining example of people working together toward producing
a work in collaboration.
New Museum Beginnings
While It Is What It Is had many sites of presentation, it began as a six-week
exhibition at New York’s New Museum of Contemporary Art in February
2009. The work was presented under the Three M Project as one element of a
four-person group show sponsored by the Deutsche Bank and three partnering
U.S. contemporary art museums. At the time It Is What It Is was one of the New
Museum’s best attended shows on record.10
10 Esam Pasha, interview by author, telephone Los Angeles to New York, January 28, 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 12 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 7 cross-country tour. The presentations in the museums and on the road were seen by Deller as separate initiatives. They had different curatorial and financial support and Deller’s interest and participation within each varied. These differences raised questions related to his authorial perspective on working within museums versus with smaller organizations in the public. Deller seemed more interested in what the American landscape would generate. He trusted the museums to collaborate with him on a curatorial level, in presenting the work in a meaningful way - so his lack of participation in that capacity came as no surprise to the museums. These and many more pertinent issues were raised by this project as it was complexly collaborative. Social practice is a movement that is not just dependent on the creator and participant but which places great emphasis on the mutual respect and trust that comes from generating meaning collectively. Deller’s work is a shining example of people working together toward producing a work in collaboration. New Museum Beginnings While It Is What It Is had many sites of presentation, it began as a six-week exhibition at New York’s New Museum of Contemporary Art in February 2009. The work was presented under the Three M Project as one element of a four-person group show sponsored by the Deutsche Bank and three partnering U.S. contemporary art museums. At the time It Is What It Is was one of the New Museum’s best attended shows on record.10 10 Esam Pasha, interview by author, telephone Los Angeles to New York, January 28, 2011. |
