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21
national scale” through “efficiency, knowledge, and resource sharing.”30 In 2009
the partnership was “in its second cycle” and involved “four new commissions by
Jeremy Deller, Daria Martin, Mathias Poledna, and Urban China.” These projects
were “presented simultaneously” in a group show format.31 While Deller’s piece
is sometimes presented as an isolated event or solo exhibition, it is more
historically accurate to contextualize it in regards to its group show status. As one
element of a four-part exhibition, it shared resources with the other artists at all
three sites.
Each institution under the Three M apparatus— the New Museum,
Hammer, Contemporary Art Chicago and Creative Time – were given the
autonomy to facilitate and produce their own iteration of the group exhibition. In
Deller’s case, each museum presented It Is What It Is in similar yet distinct ways.
The staff of every museum was charged with locating experts within their local
communities for the conversations that would come to compose the majority of
Deller’s content. The artist described this as an intentional way to motivate
museum staff to reach out to their communities and better familiarize themselves
with the surrounding Iraqi community. In the Hammer’s case an independent
contractor was hired and sourced the experts for the museum. Understandably,
resources were not available for the Hammer to attempt this feat on its own; but
this administrative adjustment to the artist’s intentions did undercut Deller’s goal
of the museum getting to know its Iraqi constituents. While his intention was
30 The Museum of Contemporary Art, Chicago. http://www.mcachicago.org/ (accessed November
29, 2010).
31 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 26 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 21 national scale” through “efficiency, knowledge, and resource sharing.”30 In 2009 the partnership was “in its second cycle” and involved “four new commissions by Jeremy Deller, Daria Martin, Mathias Poledna, and Urban China.” These projects were “presented simultaneously” in a group show format.31 While Deller’s piece is sometimes presented as an isolated event or solo exhibition, it is more historically accurate to contextualize it in regards to its group show status. As one element of a four-part exhibition, it shared resources with the other artists at all three sites. Each institution under the Three M apparatus— the New Museum, Hammer, Contemporary Art Chicago and Creative Time – were given the autonomy to facilitate and produce their own iteration of the group exhibition. In Deller’s case, each museum presented It Is What It Is in similar yet distinct ways. The staff of every museum was charged with locating experts within their local communities for the conversations that would come to compose the majority of Deller’s content. The artist described this as an intentional way to motivate museum staff to reach out to their communities and better familiarize themselves with the surrounding Iraqi community. In the Hammer’s case an independent contractor was hired and sourced the experts for the museum. Understandably, resources were not available for the Hammer to attempt this feat on its own; but this administrative adjustment to the artist’s intentions did undercut Deller’s goal of the museum getting to know its Iraqi constituents. While his intention was 30 The Museum of Contemporary Art, Chicago. http://www.mcachicago.org/ (accessed November 29, 2010). 31 Ibid. |
