Aesthetic Journalism: How to Inform Without Informing by Alfredo Cramerotti

By Alfredo Cramerotti

Addressing a transforming into zone of concentration in modern paintings, Aesthetic Journalism investigates why modern paintings exhibitions frequently include interviews, documentaries, and reportage. paintings theorist and critic Alfredo Cramerotti strains the shift within the construction of fact from the area of the scoop media to that of artwork and aestheticism—a switch that questions the very foundations of journalism and the character of paintings. This quantity demanding situations the best way we comprehend artwork and journalism in modern tradition and indicates destiny advancements of this new courting.

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Giddens, Anthony (1994), Beyond Left and Right, Cambridge: Polity Press. Habermas, Jurgen (1972), Knowledge and Human Interest (trans. J. Shapiro), London: Heinemann. Habermas, Jurgen (1996), Between Facts and Norms: Contributions to a Discourse Theory of Law and Democracy (trans. W. Rehg), Cambridge, Mass: MIT Press. First published in 1992. , Digital Journalism: Emerging Media and the Changing Horizons of Journalism, pp. 1–29, Lanham, MD: Rowman & Littlefield Publishers. Lind, Maria and Steyerl, Hito (eds) (2008), The Greenroom: Reconsidering the Documentary and Contemporary Art, New York: Stenberg Press and Center for Curatorial Studies, Bard College.

What we get from official documents or witnesses are only moments, which can then be articulated in a narrative (past, present or future) by the viewer, and not simply presented by the author as truth. In documentary, aesthetic and investigative journalism alike, the access to visualization (the possibility to obtain visual material) is what determines what is investigated and what is left out. The access to the possibility of image is the watershed for what can fit into a narrative accessible to the viewer and what cannot, or should not, be represented.

3 To step into a museum or biennial with dozens of video screenings about war and displacement, statistic graphics and photojournalistic reportage, may give the unpleasant sensation of a routine of reporting and cartographic visualization; each implying a very limited critical practice, and not communicating ‘properly’ with the viewer. Art exhibitions displaying what one might as well receive by watching CNN, seated on the sofa, are probably not appealing for a potential public that gets its worldview via CNN – and that is exactly the sore point.

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