By Alfredo Cramerotti
Addressing a growing to be region of concentration in modern artwork, Aesthetic Journalism investigates why modern paintings exhibitions frequently encompass interviews, documentaries, and reportage. artwork theorist and critic Alfredo Cramerotti lines 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 artwork. This quantity demanding situations the way in which we comprehend paintings and journalism in modern tradition and indicates destiny advancements of this new dating.
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Extra resources for Aesthetic Journalism: How to Inform Without Informing
The idea of document itself – the foundation of the journalistic attitude – is the result of a system of legal authentication (the original photograph, the official certificate, the historical report), which ultimately is a procedure of agreement upon a reality proof. 7 The more documents we have, the more reliable the account; a neutral point of view is assessed when it is shared by a large enough number of people (otherwise it would be a Documenta is an exhibition taking place particular point of view).
This triggers a reaction to this form of commercial communication by artistic and documentary practices, aiming to balance the growing influence of marketing strategies in the social, cultural and political realm. We witness therefore the rise of the ‘documentary position’ (Havránek 2005b) as a critical stance – a sort of counterstrategy of authenticity – by artists and filmmakers. However, as advertising techniques are the real currency for the attention of the viewer, art (and documentary) practices cannot ignore this fact if they want an audience.
Both accessed 13 November 2007. 3. Cultural theorist Irit Rogroff speaks of a ‘politics without a plan’. By this, she means that our knowledge acquired through a specific medium of representation (for instance, art) is not immediately ‘translatable’ into an immediate course of action. In my view, it is relevant to be aware that acknowledging is not the same as acting upon. 4. Brian Winston in his 1995 book (see bibliography) provides evidence that at least two other film professionals adopted the term long before Grierson: Boleslaw Matuszewski in 1898, and Edward Sheriff Curtis in 1914.