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17
identity related to place. Unfortunately, it did not achieve this goal because it was
first, focused on Iraq related content, and secondly, the maintenance of its
overwhelmingly complex production apparatus consumed the majority of the
crew’s time and resources.
Furthermore, taking this work on the road translated it into a work of
public art, a label that comes with certain obligations to the public. Regrettably
there was only one documented instance from its public iteration that showed the
crew verbally grappling with their audience’s relationship to this piece as a work
of contemporary art. One would imagine that the diverse public, not being privy
to methodological developments within art making such as social practice, would
be interested in how Deller was using this artistic platform to address a
challenging national issue. Considering that social practice is a fairly
untraditional form of art within mainstream culture, Deller or Creative Time
might have used this opportunity to educate their audience about art as well as
Iraq. Instead they shied away from emphasizing the project’s relationship to art
because it was a conversation that seemed dated to them, as they are seasoned in
the trajectory of history and recent art practices. But many of the editorial
reviews from the road suggest there was confusion on the part of the participants
and bystanders as to how this project was functioning as a work of art. For
example, was the car the art piece? Or were the conversations? Thompson
claimed these attempts to nuance the work’s artistic qualities distracted people
from the point of the project. Participating organizations also explained the art
conversation did not seem relevant to the task at hand. As the show’s editorial
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 22 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 17 identity related to place. Unfortunately, it did not achieve this goal because it was first, focused on Iraq related content, and secondly, the maintenance of its overwhelmingly complex production apparatus consumed the majority of the crew’s time and resources. Furthermore, taking this work on the road translated it into a work of public art, a label that comes with certain obligations to the public. Regrettably there was only one documented instance from its public iteration that showed the crew verbally grappling with their audience’s relationship to this piece as a work of contemporary art. One would imagine that the diverse public, not being privy to methodological developments within art making such as social practice, would be interested in how Deller was using this artistic platform to address a challenging national issue. Considering that social practice is a fairly untraditional form of art within mainstream culture, Deller or Creative Time might have used this opportunity to educate their audience about art as well as Iraq. Instead they shied away from emphasizing the project’s relationship to art because it was a conversation that seemed dated to them, as they are seasoned in the trajectory of history and recent art practices. But many of the editorial reviews from the road suggest there was confusion on the part of the participants and bystanders as to how this project was functioning as a work of art. For example, was the car the art piece? Or were the conversations? Thompson claimed these attempts to nuance the work’s artistic qualities distracted people from the point of the project. Participating organizations also explained the art conversation did not seem relevant to the task at hand. As the show’s editorial |
