By Alfredo Cramerotti
Addressing a becoming quarter of concentration in modern artwork, Aesthetic Journalism investigates why modern artwork exhibitions frequently encompass interviews, documentaries, and reportage. paintings theorist and critic Alfredo Cramerotti lines the shift within the construction of fact from the area of the scoop media to that of paintings and aestheticism—a swap that questions the very foundations of journalism and the character of artwork. This quantity demanding situations the best way we comprehend paintings and journalism in modern tradition and indicates destiny advancements of this new courting.
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Additional resources for Aesthetic Journalism: How to Inform Without Informing
The exhibition is not the main feature, nor the concluding one: the setup of screens, monitors and printed material is usually only a moment of an articulated aesthetic experience, and it serves as an occasion for something else to happen. It functions as a segment of a bigger system of knowledge production. 8 The elements of this information process are ‘consumed’ by the viewer either sequentially (as a whole corpus of investigation) or singularly (as an event not necessarily linked to what preceded or follow).
33 Aesthetic Journalism:Place of Artists Cinema 18/08/2009 21:04 Page 34 Aesthetic Journalism Further Reading Beck, Ulrich (2001), World Risk Society, Cambridge: Polity Press. Bourdieu, Pierre, (1990), Photography (trans. Shaun Whiteside), Stanford, Cal: Stanford University Press. Bourdieu, Pierre (1998), On Television and Journalism (trans. Priscilla Parkhurst Ferguson), London: Pluto. First published in 1996. Carpentier, Nico (2005), ‘Identity, contingency and rigidity: The (counter)hegemonic constructions of the identity of the media professional’, in Journalism, 6, pp.
The information is distributed through a series of artistic ‘platforms’ such as museums and art galleries, cultural programmes (often involving several countries, like the EU programme Culture 2000), art magazines, university conferences and online forums. The combination of all these platforms forms art ‘discourse’, that is, the activities and themes produced by art. The exhibition is not the main feature, nor the concluding one: the setup of screens, monitors and printed material is usually only a moment of an articulated aesthetic experience, and it serves as an occasion for something else to happen.