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53
participant and perhaps limit what they would like to talk about. While the piece
had a surprisingly vast amount of footage that explained what they did, much of it
remains scattered across the Internet and in various private files across the U.S.
Many of the physical road sites took their own photos and videos but there is yet
to be a singular depository, either physical or electronic through which the public
can access the piece in a thorough way.
While Deller’s intention was not to over-document these in-the-moment
experiences, as they were organic and authentic for those involved, one wonders
how people will continue to access this piece literally and experientially. One is
left to connect the dots of its documentation and form their own take on the
work’s capacity to connect with people and disseminate information. In order to
obtain what primary viewers described as a visceral and authentic experience, one
must visit the many sites of production through which this piece was presented. It
is an unreasonable expectation that future audience will go to such great lengths
to fully know the piece. Mostly likely the work will continue to be taken at face
value, from what can be easily accessed from the website, book, handful of videos
and word of mouth reiterations. For a piece ripe with implications for the
enhancement of social practice, it would do the art world a broader favor if Deller
and his institutional partners would further facilitate its archiving and distribution.
Deller stated many times that “one day there [would] be a museum
dedicated to the conflict in Iraq” but until that time we had “to imagine what it
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 58 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 53 participant and perhaps limit what they would like to talk about. While the piece had a surprisingly vast amount of footage that explained what they did, much of it remains scattered across the Internet and in various private files across the U.S. Many of the physical road sites took their own photos and videos but there is yet to be a singular depository, either physical or electronic through which the public can access the piece in a thorough way. While Deller’s intention was not to over-document these in-the-moment experiences, as they were organic and authentic for those involved, one wonders how people will continue to access this piece literally and experientially. One is left to connect the dots of its documentation and form their own take on the work’s capacity to connect with people and disseminate information. In order to obtain what primary viewers described as a visceral and authentic experience, one must visit the many sites of production through which this piece was presented. It is an unreasonable expectation that future audience will go to such great lengths to fully know the piece. Mostly likely the work will continue to be taken at face value, from what can be easily accessed from the website, book, handful of videos and word of mouth reiterations. For a piece ripe with implications for the enhancement of social practice, it would do the art world a broader favor if Deller and his institutional partners would further facilitate its archiving and distribution. Deller stated many times that “one day there [would] be a museum dedicated to the conflict in Iraq” but until that time we had “to imagine what it |
