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8
The design of the exhibition space was purposefully minimal due to the
project’s conceptual nature and conversational emphasis. Of the visual materials
in the room there was a wall displaying comparative outlines of the United States
and of Iraq, a large banner announcing the show’s title in Arabic and English, as
well as a small series of photographs. The room’s most prominent feature and
arguably the piece’s most necessary object both at the museums and on the road
was the rusted shell of a decimated car11 which had been mangled in a 2007
Baghdad bombing.12 Co-curator Amy Mackie of the New Museum described the
environment as a “casual, informal and comfortable place were visitors could sit
down and engage,” but most often people were interested in listening to
conversations that others had initiated.13 Guests approached the project in a
variety of ways. Some came prepared with slides or objects to present while
others came “just to talk. To have questions asked of them and to give the
museum goers something they couldn’t necessarily find other places.”14
11 In May of 2007, after four months of negotiation, Dutch curator Robert Klüijver succeeded in
shipping this and another bombed vehicle from Al-Mutanabbi to the Netherlands for an event
entitled “War on Error,” which included a daylong discussion and performances, as well as the
exhibition of the vehicles on Leidse Plein Square in Amsterdam. One or both of the cars have
subsequently been exhibited in Rotterdam, Enschede, Utrecht, The Hague and Houston, Texas.
Concept: Partisan Public; Logistics and organization: Robert Klüijver for the “War on Error
Event.” project support: IKV Pax Christi, Hivos and the Green Party. Donated to the New
Museum by Robert Klüijverre. http://www.conversationsaboutiraq.org/description.php (accessed
November 22, 2010).
12 The car was initially to be displayed in London as public artwork but the commission fell
through, at which time it became the visual cornerstone for conceptualizing of It Is What It Is.
Jeremy Deller interview, YouTube, Creative Time, 2009.
13 Hammer Museum Curators and “It Is What It Is” Road Trip Collaborators, “Field Trip: The
Iraq Conversations in the U.S.” (lecture, Hammer Museum, April 19, 2009). Hammer Museum
Website. http://hammer.ucla.edu/programs/detail/program_id/157 (accessed February 2, 2011).
14 Ibid.
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 13 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 8 The design of the exhibition space was purposefully minimal due to the project’s conceptual nature and conversational emphasis. Of the visual materials in the room there was a wall displaying comparative outlines of the United States and of Iraq, a large banner announcing the show’s title in Arabic and English, as well as a small series of photographs. The room’s most prominent feature and arguably the piece’s most necessary object both at the museums and on the road was the rusted shell of a decimated car11 which had been mangled in a 2007 Baghdad bombing.12 Co-curator Amy Mackie of the New Museum described the environment as a “casual, informal and comfortable place were visitors could sit down and engage,” but most often people were interested in listening to conversations that others had initiated.13 Guests approached the project in a variety of ways. Some came prepared with slides or objects to present while others came “just to talk. To have questions asked of them and to give the museum goers something they couldn’t necessarily find other places.”14 11 In May of 2007, after four months of negotiation, Dutch curator Robert Klüijver succeeded in shipping this and another bombed vehicle from Al-Mutanabbi to the Netherlands for an event entitled “War on Error,” which included a daylong discussion and performances, as well as the exhibition of the vehicles on Leidse Plein Square in Amsterdam. One or both of the cars have subsequently been exhibited in Rotterdam, Enschede, Utrecht, The Hague and Houston, Texas. Concept: Partisan Public; Logistics and organization: Robert Klüijver for the “War on Error Event.” project support: IKV Pax Christi, Hivos and the Green Party. Donated to the New Museum by Robert Klüijverre. http://www.conversationsaboutiraq.org/description.php (accessed November 22, 2010). 12 The car was initially to be displayed in London as public artwork but the commission fell through, at which time it became the visual cornerstone for conceptualizing of It Is What It Is. Jeremy Deller interview, YouTube, Creative Time, 2009. 13 Hammer Museum Curators and “It Is What It Is” Road Trip Collaborators, “Field Trip: The Iraq Conversations in the U.S.” (lecture, Hammer Museum, April 19, 2009). Hammer Museum Website. http://hammer.ucla.edu/programs/detail/program_id/157 (accessed February 2, 2011). 14 Ibid. |
