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30
In 1996 Mary Jane Jacob expanded upon Lacy’s sentiments about
community engagement with her curatorial work in Chicago entitled Culture in
Action. The project “was developed over long periods of discussion beginning in
1990 among arts professionals, community organizers and neighborhood groups.”
Through this collaboratively heavy model the project “sought to give new
meaning to public art.” Jacob believed these interactions had the potential to
“build a new model for public art;”41 one that broadly involved many constituents
within the community’s cultural sphere. Despite public art not yet being able to
outgrow its 1960s association with large abstract sculptures in corporate plazas
into the early 2000s, Jacob’s work accelerated the conversation regarding the
public vision of public art.
She also foresaw the possibility for a social turn in museum practice. Her
work asked the art and cultural community to be self-reflexive about the
reciprocal relationship between art and institution, in order to see what both could
learn from each other.
“Art outside the institutional framework raised questions that, in turn, lead
to parallel reflections about art inside museums: who is the public for art?
How does art address various publics? What is the role of the artist today?
Can art contribute to society? What is the place of our art institutions in
the broader realm of culture?”42
The contemporary relevance of these dynamic questions historically and
contemporaneously remained pertinent. These concerns imbibed Deller’s piece
with historical significance, It Is What It Is furthered Jacob’s line of questioning
41 Ibid., 59.
42 “Culture in Action: New Public Art in Chicago,” Sculpture Chicago (exh. cat. Bay
Press, Seattle, 1995) [essay “Outside the Loop” 1993,] 51.
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 35 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 30 In 1996 Mary Jane Jacob expanded upon Lacy’s sentiments about community engagement with her curatorial work in Chicago entitled Culture in Action. The project “was developed over long periods of discussion beginning in 1990 among arts professionals, community organizers and neighborhood groups.” Through this collaboratively heavy model the project “sought to give new meaning to public art.” Jacob believed these interactions had the potential to “build a new model for public art;”41 one that broadly involved many constituents within the community’s cultural sphere. Despite public art not yet being able to outgrow its 1960s association with large abstract sculptures in corporate plazas into the early 2000s, Jacob’s work accelerated the conversation regarding the public vision of public art. She also foresaw the possibility for a social turn in museum practice. Her work asked the art and cultural community to be self-reflexive about the reciprocal relationship between art and institution, in order to see what both could learn from each other. “Art outside the institutional framework raised questions that, in turn, lead to parallel reflections about art inside museums: who is the public for art? How does art address various publics? What is the role of the artist today? Can art contribute to society? What is the place of our art institutions in the broader realm of culture?”42 The contemporary relevance of these dynamic questions historically and contemporaneously remained pertinent. These concerns imbibed Deller’s piece with historical significance, It Is What It Is furthered Jacob’s line of questioning 41 Ibid., 59. 42 “Culture in Action: New Public Art in Chicago,” Sculpture Chicago (exh. cat. Bay Press, Seattle, 1995) [essay “Outside the Loop” 1993,] 51. |
