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52
previous theoretical ideals informing social practice and there are no records that
indicate the art world/museum sites engaged in this discussion either.
As a critical evaluator of this piece it is necessary to address the fact that
those who interacted with it were not only its participants but its collaborators.
As Endress explained about his own collaborative process, “we feed off of each
other.” Where “one person has an idea, someone else helps that idea progress and
what we end up is ten times better than what we started with.”92 Deller’s piece
would not exist without participation, interaction and exchange. The mobility of
the work allowed him and his crew to work with a new set of individuals
everyday.
The road audience interacted with the piece quickly as it came and went in
a matter of hours. For most, the exchange was a welcomed addition to the
community and the project’s short duration was not an issue. For a select few
participants the temporal exchange was more politically disenfranchising than
motivating. Miwon Kwon has historically responded negatively to public art
projects that parachute in and out of places. It is unclear whether or not this
project or those who participated in it- would have benefited from a more
extended exchange. Apart from the amount of time the piece spent at each road
site the conversational nature of the piece made it both temporal and ephemeral.
Documenting the conversations through photography and video was
essential in making a record of the piece; Deller and Thompson were hesitant to
over-document the conversation because of the pressure it would put on
92 Ibid., 158.
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 57 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 52 previous theoretical ideals informing social practice and there are no records that indicate the art world/museum sites engaged in this discussion either. As a critical evaluator of this piece it is necessary to address the fact that those who interacted with it were not only its participants but its collaborators. As Endress explained about his own collaborative process, “we feed off of each other.” Where “one person has an idea, someone else helps that idea progress and what we end up is ten times better than what we started with.”92 Deller’s piece would not exist without participation, interaction and exchange. The mobility of the work allowed him and his crew to work with a new set of individuals everyday. The road audience interacted with the piece quickly as it came and went in a matter of hours. For most, the exchange was a welcomed addition to the community and the project’s short duration was not an issue. For a select few participants the temporal exchange was more politically disenfranchising than motivating. Miwon Kwon has historically responded negatively to public art projects that parachute in and out of places. It is unclear whether or not this project or those who participated in it- would have benefited from a more extended exchange. Apart from the amount of time the piece spent at each road site the conversational nature of the piece made it both temporal and ephemeral. Documenting the conversations through photography and video was essential in making a record of the piece; Deller and Thompson were hesitant to over-document the conversation because of the pressure it would put on 92 Ibid., 158. |
