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38
European artists from the early 1990s,”58 who captured a moment in artistic
production in which art was “grounded in the whole of human relations and their
social context.”59
Bourriaud coined the term in response to a theoretical exhibition he
curated entitled Traffic,60 that he felt displayed “evidences” of a new type of art
making.61 A later book by the same name was meant to further these ideas into
the academic and art historical terrain but the ideas took years to catch on in the
U.S.62 In a 2009 Frieze interview Bourriaud explained how “the book’s ideas
were disseminated by art students and artists” but were initially ignored. That
recieved few reviews in art magazines and ultimately took ten years for a wide
array of people to fully address it.63
The text proved significant to the social practice movement because it
reflected changes in the role of the artist.
In relational art, the artist is no longer at the center. They are no longer the
soul creator, the master or even celebrity. The artist, instead, is the
catalyst. They kick-start a question, frame a point of consideration, or
highlight an everyday moment. And then, they wait. They wait for a
response from the random stranger, the passerby, the usual suspect—you
58 Wikipedia, “Nicolas Bourriaud,” (October 31, 2010)
http://en.wikipedia.org/wiki/Nicolas_Bourriaud (accessed February 17, 2011).
59 Ayres, Nik. “Relational Aesthetics” <http://historyofartandsocialpractice.tumblr.com/page/6>
February 16, 2011. Quoting Nicolas Bourriaud, Relational Aesthetics, 1998.
60 Ibid.
61 Morton, Tom. “Tate Triennial 2009,” Frieze Magazine. Issue 120, Jan-Feb 2009
http://www.frieze.com/issue/article/tate_triennial_2009/ (accessed February 17, 2011).
62 Ibid.
63 Ibid.
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 43 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text |
38
European artists from the early 1990s,”58 who captured a moment in artistic
production in which art was “grounded in the whole of human relations and their
social context.”59
Bourriaud coined the term in response to a theoretical exhibition he
curated entitled Traffic,60 that he felt displayed “evidences” of a new type of art
making.61 A later book by the same name was meant to further these ideas into
the academic and art historical terrain but the ideas took years to catch on in the
U.S.62 In a 2009 Frieze interview Bourriaud explained how “the book’s ideas
were disseminated by art students and artists” but were initially ignored. That
recieved few reviews in art magazines and ultimately took ten years for a wide
array of people to fully address it.63
The text proved significant to the social practice movement because it
reflected changes in the role of the artist.
In relational art, the artist is no longer at the center. They are no longer the
soul creator, the master or even celebrity. The artist, instead, is the
catalyst. They kick-start a question, frame a point of consideration, or
highlight an everyday moment. And then, they wait. They wait for a
response from the random stranger, the passerby, the usual suspect—you
58 Wikipedia, “Nicolas Bourriaud,” (October 31, 2010)
http://en.wikipedia.org/wiki/Nicolas_Bourriaud (accessed February 17, 2011).
59 Ayres, Nik. “Relational Aesthetics” |
