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54
might contain.”93 Deller’s triumph within this piece was offering the world
fragments of content that could provide the foundation for something more
permanent. Undoubtedly, there was and still is a need and a desire within the
U.S. to establish a comfortable, safe place for the engagement of critical ideas
about current events related to the Middle East. As normative media channels
have proven not to be the arena in which this space could be provided, Deller used
the art world to create room for the public to address this topic.
The art world has historically provided a platform for individuals, scholars
and artist to address topics outside of the artistic discipline, as it has not always
been possible in disciplinary arenas like science or politics, because of their
inherent structural confines.94 The art and cultural arena has provided space for
the experimentation of socially engaging methodologies. Deller is not the first,
nor will he be the last to call attention to art’s capacity to effect change within the
public sphere.
While critics will more thoroughly decide over time how Deller’s piece
will fit within the art historical trajectory of the early 2000s, the project
unquestionably served the contemporary moment and will continue to serve future
publics in promoting the artistic arena as a profoundly useful space in which
social and societal issues can be addressed. This conclusion will certainly not
satisfy some contemporary critics and cultural producers at the forefront of public
art, social practice and art criticism. While some revel in art’s capacity to address
93 Conversations About Iraq, Creative Time, http://www.conversationsaboutiraq.org/story.php
(accessed November 2010).
94 Vidokle, Anton. New York Conversations, e-flux films, 2010.
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 59 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 54 might contain.”93 Deller’s triumph within this piece was offering the world fragments of content that could provide the foundation for something more permanent. Undoubtedly, there was and still is a need and a desire within the U.S. to establish a comfortable, safe place for the engagement of critical ideas about current events related to the Middle East. As normative media channels have proven not to be the arena in which this space could be provided, Deller used the art world to create room for the public to address this topic. The art world has historically provided a platform for individuals, scholars and artist to address topics outside of the artistic discipline, as it has not always been possible in disciplinary arenas like science or politics, because of their inherent structural confines.94 The art and cultural arena has provided space for the experimentation of socially engaging methodologies. Deller is not the first, nor will he be the last to call attention to art’s capacity to effect change within the public sphere. While critics will more thoroughly decide over time how Deller’s piece will fit within the art historical trajectory of the early 2000s, the project unquestionably served the contemporary moment and will continue to serve future publics in promoting the artistic arena as a profoundly useful space in which social and societal issues can be addressed. This conclusion will certainly not satisfy some contemporary critics and cultural producers at the forefront of public art, social practice and art criticism. While some revel in art’s capacity to address 93 Conversations About Iraq, Creative Time, http://www.conversationsaboutiraq.org/story.php (accessed November 2010). 94 Vidokle, Anton. New York Conversations, e-flux films, 2010. |
