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45
activism.” He hoped to “develop criteria for evaluation” that would be “relevant
and appropriate” for dialogically specific work, but found there was a “lack of
resources in modern art theory for engaging with projects that were collaborative,
rather than specular.”78 As collaboration was the cornerstone tool of
conversational exchange and social practice, Kester strove to formulate a criteria
based on art historical moments significant to those types of work.
The historical timeline he highlighted included an address of avant-garde
practices, as well as the conceptual and minimalists art of the 1960s and 1970s.
The most important of these being “the art of the 60s and 70s,” that focused on
“shifts away from object-based practices,” towards work “dependent on direct
physical and perceptual interaction with the viewer.”79 Yet as he points out
“critics and historians have found it particularly difficult to appreciate the
experiences in those works that are not reducible to the visual.”80 While Deller’s
piece was vastly significant for those who experienced it first hand, the secondary
experience is a fragmented one. As a non-visual piece, it is up to the truly
investigative secondary viewer to put the pieces of those initial experiences
together in order to generate their own authentic relationship with the material.
In a 2006 article, Bishop again raised relevant concerns regarding the
development of social practice. Her article The Social Turn: Collaboration and
Its Discontents used the historical backing of Jacques Ranciere, to claim that
socially engaged art was sacrificing a critical examination of aesthetics by
78 Ibid., 14.
79 Ibid., 16.
80 Ibid., 12.
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 50 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 45 activism.” He hoped to “develop criteria for evaluation” that would be “relevant and appropriate” for dialogically specific work, but found there was a “lack of resources in modern art theory for engaging with projects that were collaborative, rather than specular.”78 As collaboration was the cornerstone tool of conversational exchange and social practice, Kester strove to formulate a criteria based on art historical moments significant to those types of work. The historical timeline he highlighted included an address of avant-garde practices, as well as the conceptual and minimalists art of the 1960s and 1970s. The most important of these being “the art of the 60s and 70s,” that focused on “shifts away from object-based practices,” towards work “dependent on direct physical and perceptual interaction with the viewer.”79 Yet as he points out “critics and historians have found it particularly difficult to appreciate the experiences in those works that are not reducible to the visual.”80 While Deller’s piece was vastly significant for those who experienced it first hand, the secondary experience is a fragmented one. As a non-visual piece, it is up to the truly investigative secondary viewer to put the pieces of those initial experiences together in order to generate their own authentic relationship with the material. In a 2006 article, Bishop again raised relevant concerns regarding the development of social practice. Her article The Social Turn: Collaboration and Its Discontents used the historical backing of Jacques Ranciere, to claim that socially engaged art was sacrificing a critical examination of aesthetics by 78 Ibid., 14. 79 Ibid., 16. 80 Ibid., 12. |
