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29
interdependent.”38 The notion of a relational interdependence remained key in
future iterations of social practice. Many artists throughout the medium’s
evolution expanded “the number of voices” and diversity of those they chose to
highlight. This gave “groups that [had] been previously excluded” the
opportunity to speak about their “own experience,”39 rather than having someone
else dictate it for them. Gablik’s words hinted at improving human rights and
social justice while not being overbearing. Her prediction for future decades was
that the creative field would “see more art that [was] essentially social” and
indeed the U.S. has witnessed that evolution.40
In 1994 Suzanne Lacy published Mapping the Terrain in which she
articulated a new public art developing at the time but which had yet to be
critically or academically fortified. In response she coined the term “new genre
public art,” the basis of which was community engagement, with an added
emphasis on artistic intention and responsibility. The method made use of “both
traditional and nontraditional media” and related to its audience through issues
that were “directly relevant to their lives.” This methodology was echoed in the
strategies and tactics Deller made use of in It Is What It Is. For example, while
the piece only briefly engaged with communities and in this limited durational
manner, it did however use old and new media to communicate with a broader
public, using content that was directly relevant to their lives as U.S. citizens in
2009.
38 Ibid., 3.
39 Ibid., 4.
40 Ibid., 7.
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 34 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 29 interdependent.”38 The notion of a relational interdependence remained key in future iterations of social practice. Many artists throughout the medium’s evolution expanded “the number of voices” and diversity of those they chose to highlight. This gave “groups that [had] been previously excluded” the opportunity to speak about their “own experience,”39 rather than having someone else dictate it for them. Gablik’s words hinted at improving human rights and social justice while not being overbearing. Her prediction for future decades was that the creative field would “see more art that [was] essentially social” and indeed the U.S. has witnessed that evolution.40 In 1994 Suzanne Lacy published Mapping the Terrain in which she articulated a new public art developing at the time but which had yet to be critically or academically fortified. In response she coined the term “new genre public art,” the basis of which was community engagement, with an added emphasis on artistic intention and responsibility. The method made use of “both traditional and nontraditional media” and related to its audience through issues that were “directly relevant to their lives.” This methodology was echoed in the strategies and tactics Deller made use of in It Is What It Is. For example, while the piece only briefly engaged with communities and in this limited durational manner, it did however use old and new media to communicate with a broader public, using content that was directly relevant to their lives as U.S. citizens in 2009. 38 Ibid., 3. 39 Ibid., 4. 40 Ibid., 7. |
