Overview

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.

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9781841502687

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Reviews

Hito Steyerl, artist, filmmaker and theorist, Berlin, Germany: I just read your book, brilliant! Very nice read and groundbreaking! There is no such book around as yet, so it's really about time you did it! Peter Sandbichler, artist and consultant, Vienna, Austria: I have read your book aesthetic journalism with great interest. [...] I understand that your analysis of the applied methods in both journalism and in contemporary art is extremely precise and based on extensive research which makes it a very rich lecture. To me your book unfolds an enormous panorama which I appreciate a lot to find it in such compact. David Dunkley Gyimah, Senior Lecturer Digital Journalism, University of Westminster London, UK: I think you've touched on a rich vein which will not only be of huge interest to the arts worlds but more significantly in the evolving debate of journalism and doc - the world I know very well having previously worked for Channel 4 News, ABC News and Newsnight - to name a few. Geoffrey Garrison, artist and editor, Berlin, Germany (from Amazon page): Well-organized and thoroughly researched, Aesthetic Journalism is a good book for anyone who has ever wondered about the proliferation in contemporary art exhibitions of works resembling news reports, documentary cinema, or informative publications. Alfredo Cramerotti takes on this group of seemingly unrelated works, focusing on a number of themes pertinent to contemporary culture and society. This book investigates the bleeding over into one another of the fields of art and journalism, who share superficial similarities but differ radically on such notions as reality, fact, and objectivity as well as on professional aims and ethical standards. Definitely worth a read for anyone interested in recent contemporary art practices and discourse. Jose Roberto Shwafaty, artist, Campinas/Sp, Brasil and Berlin, Germany: I just took contact with your book 'Aesthetic Journalism' (bought in Berlin), which I found really interesting and symptomatic of many issues that I also share (regarding the contemporary regimes of visibility/invisibility and the possibilities to act and [re]exist in public spheres related to those regimes...). I [...] express my admiration and recognition to this interesting work you produced. David Briers, critic, writer and curator based in West Yorkshire, UK: I appreciate very much the clarity with which [Aesthetic Journalism] is written, and I think that the journalistic devices that you appropriately employ in the main body of the book are great! Above all, the book provides a relatively concise, empirical commentary about a phenomenon that until now lacked such a referent. Lauren Mele, Masters candidate, Contemporary Art Sotheby's Institute of Art, London, UK. I recently completed my Masters in Contemporary Art at the Sotheby's Institute of Art in London and have used your book as a large source of inspiration for my dissertation. I admire the acknowledgement of the problematic aspects of representations of crises at present, articulated by thinkers such as yourself.

Hito Steyerl, artist, filmmaker and theorist, Berlin, Germany: I just read your book, brilliant! Very nice read and groundbreaking! There is no such book around as yet, so it's really about time you did it! Peter Sandbichler, artist and consultant, Vienna, Austria: I have read your book aesthetic journalism with great interest. [...] I understand that your analysis of the applied methods in both journalism and in contemporary art is extremely precise and based on extensive research which makes it a very rich lecture. To me your book unfolds an enormous panorama which I appreciate a lot to find it in such compact. David Dunkley Gyimah, Senior Lecturer Digital Journalism, University of Westminster London, UK: I think you've touched on a rich vein which will not only be of huge interest to the arts worlds but more significantly in the evolving debate of journalism and doc - the world I know very well having previously worked for Channel 4 News, ABC News and Newsnight - to name a few. Geoffrey Garrison, artist and editor, Berlin, Germany (from Amazon page): Well-organized and thoroughly researched, Aesthetic Journalism is a good book for anyone who has ever wondered about the proliferation in contemporary art exhibitions of works resembling news reports, documentary cinema, or informative publications. Alfredo Cramerotti takes on this group of seemingly unrelated works, focusing on a number of themes pertinent to contemporary culture and society. This book investigates the bleeding over into one another of the fields of art and journalism, who share superficial similarities but differ radically on such notions as reality, fact, and objectivity as well as on professional aims and ethical standards. Definitely worth a read for anyone interested in recent contemporary art practices and discourse. Jose Roberto Shwafaty, artist, Campinas/Sp, Brasil and Berlin, Germany: I just took contact with your book 'Aesthetic Journalism' (bought in Berlin), which I found really interesting and symptomatic of many issues that I also share (regarding the contemporary regimes of visibility/invisibility and the possibilities to act and [re]exist in public spheres related to those regimes...). I [...] express my admiration and recognition to this interesting work you produced. David Briers, critic, writer and curator based in West Yorkshire, UK: I appreciate very much the clarity with which [Aesthetic Journalism] is written, and I think that the journalistic devices that you appropriately employ in the main body of the book are great! Above all, the book provides a relatively concise, empirical commentary about a phenomenon that until now lacked such a referent.

Author Information

Alfedo Cramerotti is Exhibitions Officer at QUAD in Derby and Fellow of Art Theory and Criticism at Kunstlerhaus Buchsenhausen in Austria.

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