Page 31 |
Save page Remove page | Previous | 31 of 63 | Next |
|
small (250x250 max)
medium (500x500 max)
Large (1000x1000 max)
Extra Large
large ( > 500x500)
Full Resolution
All (PDF)
|
This page
All
|
26
influences. Like Rojas, a student of the graduate program articulated in the
opening quotation, the genre continues to evolve but is rooted in the key
characteristics of social interaction and outreach. For the past half century this
focus has changed the way cultural practitioners teach, learn, experience and
produce art in the United States. Significant signs of social practice’s
contemporary impact are visible in the proliferation of graduate programs
specifically focused on social outreach as subject. Additionally, shifts in
museum practice, such as the Hammer Museum’s social practice artist-in-residency
program is yet another example of the institutional shifts that have
resulted from its emphasis and use by cultural practitioners. 34
According to Deller, the United Kingdom has practiced this type of work
for decades whereas U.S. institutions just began promoting it. As a result, Deller
often found himself explaining his conceptual strategies to both the museum staff
and audience, even though his tactics echoed those of social practice work in the
U.K. The presentation of It Is What It Is in the U.S. presented three prominent
contemporary art museums with an opportunity to publicly “cut their teeth” on the
34 Further information about the Hammer’s program was articulated in a panel discussion by
Elizabeth Cline of the Public Engagement Department at the Hammer Museum who explained
how the Hammer fully “supports social practice.” The following text reviewed her contributions.
“The Hammer welcomes social practice artist-in-residence to point out the downfalls of the
institution and propose creative solutions. Process is made transparent as problem solving occurs
in public. This residency works well with The Hammer’s goal to amplify the museum as a civic
space and shift expectations of what happens at a museum. In addition, an artist council oversees
the activities of the museum and its relationship to the larger community, the councilors are
endearingly nicknamed the innies and outies. I look forward to seeing how The Hammer’s open-minded
and invested approach to social practice develops, it seems like they are off to a good start
and may set the tone for how institutions nationally deal with social practice artists.” Hammer
Museum, “Shotgun Review: The Role of the Art Institution in Community Engagement” (May 26,
2010). http://historyofartandsocialpractice.tumblr.com/post/633884270/shotgun-review-the-role-of-
the-art-institution-in (accessed February 16, 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 31 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 26 influences. Like Rojas, a student of the graduate program articulated in the opening quotation, the genre continues to evolve but is rooted in the key characteristics of social interaction and outreach. For the past half century this focus has changed the way cultural practitioners teach, learn, experience and produce art in the United States. Significant signs of social practice’s contemporary impact are visible in the proliferation of graduate programs specifically focused on social outreach as subject. Additionally, shifts in museum practice, such as the Hammer Museum’s social practice artist-in-residency program is yet another example of the institutional shifts that have resulted from its emphasis and use by cultural practitioners. 34 According to Deller, the United Kingdom has practiced this type of work for decades whereas U.S. institutions just began promoting it. As a result, Deller often found himself explaining his conceptual strategies to both the museum staff and audience, even though his tactics echoed those of social practice work in the U.K. The presentation of It Is What It Is in the U.S. presented three prominent contemporary art museums with an opportunity to publicly “cut their teeth” on the 34 Further information about the Hammer’s program was articulated in a panel discussion by Elizabeth Cline of the Public Engagement Department at the Hammer Museum who explained how the Hammer fully “supports social practice.” The following text reviewed her contributions. “The Hammer welcomes social practice artist-in-residence to point out the downfalls of the institution and propose creative solutions. Process is made transparent as problem solving occurs in public. This residency works well with The Hammer’s goal to amplify the museum as a civic space and shift expectations of what happens at a museum. In addition, an artist council oversees the activities of the museum and its relationship to the larger community, the councilors are endearingly nicknamed the innies and outies. I look forward to seeing how The Hammer’s open-minded and invested approach to social practice develops, it seems like they are off to a good start and may set the tone for how institutions nationally deal with social practice artists.” Hammer Museum, “Shotgun Review: The Role of the Art Institution in Community Engagement” (May 26, 2010). http://historyofartandsocialpractice.tumblr.com/post/633884270/shotgun-review-the-role-of- the-art-institution-in (accessed February 16, 2011). |
