Page 23 |
Save page Remove page | Previous | 23 of 63 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
18
reviews revealed, people were curious and/or confused about the project’s identity
as a work of art and it could have been more thoroughly addressed both to the
participants and the road organizations. One has to wonder if it could have
bolstered the public’s understanding of contemporary art had it been explained.
Given Deller and his crew’s chosen parameters the secondary viewer is
left with only snapshots of conversations and mere glimpses into the work’s
identity as public art. The variety of chosen sites generated multifarious
experiences. Surveying these conversations as a collective grouping of one
overarching experience produces a fractured sense of the original encounter.
There is a lack of cohesion to the videos as both the content and the circumstances
were sporadic. Seeing that the piece’s platform was strictly conversational, the
work only exists in the present by viewing this documentation. Ultimately, the
way in which the video documentation is presented detracts from its initial
purpose - which was to highlight Iraqi content. Granted it was inherently difficult
to document this work so that one could reiterate its profundity to secondary
viewers. As Pasha stated in a recent interview about this issue, those who
experienced the piece first hand often had “life changing experiences” while
secondary viewers oftentimes do not connect with its initial authenticity.
YouTube Videos
A video posted on March 29, 2009 by the Institute of Policy Studies in
Washington D.C. explained the overall premise and introduced guest experts
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 23 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 18 reviews revealed, people were curious and/or confused about the project’s identity as a work of art and it could have been more thoroughly addressed both to the participants and the road organizations. One has to wonder if it could have bolstered the public’s understanding of contemporary art had it been explained. Given Deller and his crew’s chosen parameters the secondary viewer is left with only snapshots of conversations and mere glimpses into the work’s identity as public art. The variety of chosen sites generated multifarious experiences. Surveying these conversations as a collective grouping of one overarching experience produces a fractured sense of the original encounter. There is a lack of cohesion to the videos as both the content and the circumstances were sporadic. Seeing that the piece’s platform was strictly conversational, the work only exists in the present by viewing this documentation. Ultimately, the way in which the video documentation is presented detracts from its initial purpose - which was to highlight Iraqi content. Granted it was inherently difficult to document this work so that one could reiterate its profundity to secondary viewers. As Pasha stated in a recent interview about this issue, those who experienced the piece first hand often had “life changing experiences” while secondary viewers oftentimes do not connect with its initial authenticity. YouTube Videos A video posted on March 29, 2009 by the Institute of Policy Studies in Washington D.C. explained the overall premise and introduced guest experts |
