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Distributed for Intellect Ltd

Aesthetic Journalism

How to Inform Without Informing

Addressing a growing area of focus in contemporary art, Aesthetic Journalism investigates why contemporary art exhibitions often consist of interviews, documentaries, and reportage. Art theorist and critic Alfredo Cramerotti traces the shift in the production of truth from the domain of the news media to that of art and aestheticism—a change that questions the very foundations of journalism and the nature of art. This volume challenges the way we understand art and journalism in contemporary culture and suggests future developments of this new relationship.


112 pages | 7 x 9 | © 2009

Art: Art--General Studies

Media Studies


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Table of Contents

FOREWORD

by Sally O’Reilly

INTRODUCTION

Art and Journalism: A Perspective Shift of Meaning

by Andrei Siclodi

Chapter 1: ONE THING Among Many

Chapter 2: WHAT is Aesthetic Journalism?

Why aesthetic?

Why journalism?

The crisis of traditional journalism

Art’s chance

Chapter 3: WHERE is Aesthetic Journalism?

Art’s context

Documentary

Internet

Advertising

Chapter 4: WHEN did Aesthetic Journalism Develop?

A few scenarios of the past…

…and some closer to the present

Art as self-documentation

Art as social criticism

Dan Graham

Martha Rosler

Hans Haacke

Art as reporting

Grupo de artistas de vanguardia

Chapter 5: HOW shall we Read Aesthetic Journalism?

Reading reality

Constructing reality

Subjectivity at play

Chapter 6: WHO produces Aesthetic Journalism Today? From Which Position?

Artist and projects

Multiplicity: Border Device(s)/ The Road Map (2003)

Lukas Einsele: One Step Beyond – The Mine Revisited (2001-2004)

Laura Horelli: Helsinki Shipyard/Port San Juan (2002-2003)

Renzo Martens: Episode 1 (2001-2003)

Alfredo Jaar: The Rwanda Project (1994-2000)

Reneé Green: Partially Buried in Three Parts (1996-1999)

The Atlas Group/Walid Raad: Hostage: The Bachar Tapes (1999-2001)

Bruno Serralongue: Risk Assessment Strategy (2002)

Chapter 7: WHY is Aesthetic Journalism Relevant, Now and in Perspective?

Different strategies

Witnessing: making time

Interactivity: removing the visible, adding the meaningful

Hijacking: on art and journalism

Disclosing: playing with mechanisms

Horizon(ing)

Chapter 8: REFERENCES and Niceties

Acknowledgements

Bibliography

AFTERWORD

Bared Life

by Irit Rogoff

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