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27
social practice genre, a popular new way of art making that enforced their
promotion of collaborative creation, openness and trust. It was both good for
their image as national promoters of culture and allowed them to become better
acquainted with a number of the medium’s key strategies and tactics.
Life altering U.S. events like September 11th, 2001 and the wars that
followed in the Middle East, called both individuals and institutions to reevaluate
the way art and culture was being produced and cultivated. It also highlighted a
collective desire to put critical pressure on addressing macro issues like the
faltering economic system and related political maneuvers. Deller’s piece came at
precisely the right time. Its theme satisfied a need for addressing the realities the
U.S. was facing, and its approach satisfied a need for U.S. citizens to come
together to talk, grieve, mourn and strategize.
Using social practice as an evaluative tool for the theorization of It Is
What It Is presents a certain self-reflexivity that is immensely significant to a
critique of a systems heavy piece. Vice versa, It Is What It Is allows for the
inverse examination of social practice, the particularities of its historical
development and its contemporary application. An examination of recent art
historical progress within this genre contextualized Deller’s strategies and tactics,
i.e. collaboration, community engagement, dialogue and interaction. These
elements were specifically applicable to both his strategies and tactics and
revealed how they were mutually systems derived, dependent and determined.
The presentation of the following theories and theorists span from the early
nineteen-nineties to the early 2000s; their voices are regarded by many as those
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 32 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 27 social practice genre, a popular new way of art making that enforced their promotion of collaborative creation, openness and trust. It was both good for their image as national promoters of culture and allowed them to become better acquainted with a number of the medium’s key strategies and tactics. Life altering U.S. events like September 11th, 2001 and the wars that followed in the Middle East, called both individuals and institutions to reevaluate the way art and culture was being produced and cultivated. It also highlighted a collective desire to put critical pressure on addressing macro issues like the faltering economic system and related political maneuvers. Deller’s piece came at precisely the right time. Its theme satisfied a need for addressing the realities the U.S. was facing, and its approach satisfied a need for U.S. citizens to come together to talk, grieve, mourn and strategize. Using social practice as an evaluative tool for the theorization of It Is What It Is presents a certain self-reflexivity that is immensely significant to a critique of a systems heavy piece. Vice versa, It Is What It Is allows for the inverse examination of social practice, the particularities of its historical development and its contemporary application. An examination of recent art historical progress within this genre contextualized Deller’s strategies and tactics, i.e. collaboration, community engagement, dialogue and interaction. These elements were specifically applicable to both his strategies and tactics and revealed how they were mutually systems derived, dependent and determined. The presentation of the following theories and theorists span from the early nineteen-nineties to the early 2000s; their voices are regarded by many as those |
