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35
In 1997 Lucy Lippard published The Lure of the Local which presented
artistic models that Lippard felt “strengthened the bond between art, audience,
and context.”50 It was Lippard’s attempt at integrating “visual art and her
experience living in various landscapes” into broader discussions about place that
she felt could impact the study of art’s relationship to cultural geography. Within
her historical positioning she felt a responsibility to study “the notion of the
local.”51 She strongly believed that the “landscape [could] reveal clues to a
culture,”52 and it was through an investigation and dedication to this landscape
that she thought artists could do their best work.
Deller’s piece embarked across North American with the hope of
presenting a type of hidden history to a land the Lippard stated historically forgot
its “past in favor of [its] future.”53 The timing of the work’s presentation – eight
years after the war’s inception – allowed Deller and his collaborators to address
the U.S. consciousness at precisely the right moment within the decade’s
tumultuousness. The work reached out to the public long enough after the outset
of the war to bypass anger and resentment, yet could also tap into it while the
conflict remained fresh. The landscape Deller encountered reveal that there was
both a need and desire within the populous to connect with the subject.
50 Ibid., 20.
51 Lippard, Lucy R. The Lure of the Local: Senses of Place in a Multicentered Society. (New
York: New Press, 1997), 7.
52 Ibid., 9.
53 Ibid., 13.
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 40 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 35 In 1997 Lucy Lippard published The Lure of the Local which presented artistic models that Lippard felt “strengthened the bond between art, audience, and context.”50 It was Lippard’s attempt at integrating “visual art and her experience living in various landscapes” into broader discussions about place that she felt could impact the study of art’s relationship to cultural geography. Within her historical positioning she felt a responsibility to study “the notion of the local.”51 She strongly believed that the “landscape [could] reveal clues to a culture,”52 and it was through an investigation and dedication to this landscape that she thought artists could do their best work. Deller’s piece embarked across North American with the hope of presenting a type of hidden history to a land the Lippard stated historically forgot its “past in favor of [its] future.”53 The timing of the work’s presentation – eight years after the war’s inception – allowed Deller and his collaborators to address the U.S. consciousness at precisely the right moment within the decade’s tumultuousness. The work reached out to the public long enough after the outset of the war to bypass anger and resentment, yet could also tap into it while the conflict remained fresh. The landscape Deller encountered reveal that there was both a need and desire within the populous to connect with the subject. 50 Ibid., 20. 51 Lippard, Lucy R. The Lure of the Local: Senses of Place in a Multicentered Society. (New York: New Press, 1997), 7. 52 Ibid., 9. 53 Ibid., 13. |
