The Art of Journalism and The Art of Theory: Theory Art, Post-Theory Art, Journalism Art, And Integrations Across Disciplines As Art Practice And Aesthetic
Introduction — The Art of Journalism and The Art of Theory
If it is true that there exists an Art of Journalism — a discipline recognized for its blend of meticulous research, written expression, and impactful factual narratives — then it seems to follow that both Theory Art and Post-Theory Art may also be considered in a similar light — as art. Consider, for example, the practice of both — both forms require degrees of solitude, focus, and a deep engagement with the subject matter in order to produce works that are comprehensive within a framework and that resonate with audiences both objectively and as to additional subjective interpretation.
Just as an art of journalism seeks to present facts and narratives in a compelling manner, within a traditional framework, so too theory art, which may be said to document, propose, comment on, critique, and communicate theories, and about ideas and relationships through theories, including about facts, like journalism, in an objective reality-based world, observable by anyone in the world, from any country, culture, or time. Do the similarities rest on both? — The framework and the practicing artist’s approach? Whether through words (the art of journalism) or visuals (the art of theory) (or, of course, musical composition, or theatre, or performance or any of the traditional arts), both an art of journalism and an art of theory seem similar in their artistic nature, including, possibly, as to their aesthetics, not just their utility.
Possible Similarities Of Journalism Art and Theory Art
Because the essence of both journalism and theory art demand rigorous research and an ability to distill complex ideas into accessible forms and formulations, it seems that both an art of journalism and an art of theory may have an inherent aesthetic, even if not seen as a traditional aesthetic. The similarity seems most clear when one considers the visual formatting, headings, headlines, sentence structures, and clear language that is necessary in the art of journalism to present information effectively and accurately. Consider, in relation to this, theory art when the artist employs oral, spoken word, and/or plain text sentence and paragraph elements into pieces to propose, document, or critique how things may relate or connect — that is, theories.
Observable Distinctions Between Journalism as Art and Theory as Art
That said, there also appear to be distinctions that show that an art of journalism is different than an art of theory, including that neither one is a subset of the other. Here are some of the distinctions between journalism art and theory art: First, it may be argued that theory art is primarily concerned with the exploration and presentation of theories, which means it is often engaging at a level above facts, such as in the context of engaging with abstract concepts, or philosophical inquiries, or relationships or connections that we don’t have that many facts about yet. In other words, it need not be fact-based or empirical.
In contrast, the art of journalism seems, at least traditionally, focused on investigating, uncovering, reporting, and contextualizing facts, emphasizing truth and objectivity — this is what we know so far, as distinct from, given what we know so far, let’s theorize about what it might mean. It’s a big difference, and any blending of the two, at least in the artist context, raises interesting formulations of journalism-theory-art and how it might relate to existing forms of art such as documentary art. Historically, across all cultures and times, these elements have been invaluable in human communication and the evolution of human thought — from spoken word traditions to the latest investigative report by a newspaper or news station. It is interesting that they might both be art, might both have this purpose and ability, and be different on the basis of the theory-fact distinction. Perhaps two different artistic and aesthetic methodologies towards the same thing: one through the lens of theory, the other through the lens of factual reporting?
Which raises an interesting question — do other well-established disciplines in human art across cultures and times show any evidence of journalism as art, theory as art, or both? If so, in what ways? The following is the briefest and most initial examination of these questions.
Can Architecture Be a Form of Both Journalism Art and Visual Theory Art?
Architecture, including structural and landscape architecture, is a discipline that transcends mere construction, serving as a medium for expressing cultural, social, and political theories. Given that architecture can articulate complex ideas, as Rem Koolhaas illustrates in Delirious New York, architectural design can reflect the complexity and dynamism of urban life. His work reveals the interplay between chaos and order in the modern city, highlighting architecture’s role in articulating urban theories. Zaha Hadid’s architectural innovations challenge spatial perceptions, demonstrating how design can question and redefine human-environment interactions. If architecture can successfully convey narratives about the environment and society, it seems logical to argue that it can also be a powerful medium for expressing theories about those same contexts. It’s less clear whether it can be a form of art as journalism, but theoretically it’s not impossible.
Can Film and Video Arts Be a Form of Both Journalism Art and Visual Theory Art?
Film/Video Arts, encompassing animators, documentary makers, experimental filmmakers, feature filmmakers, and screenwriters, may be powerful vehicles for conveying complex narratives and theories. Here are just two of dozens if not hundreds of examples: Dziga Vertov’s Man with a Movie Camera uses the camera as a tool to explore urban life and social dynamics, capturing the essence of the city as a living organism. Bong Joon-ho’s Parasite provides a contemporary exploration of class structures and economic theories, using cinematic storytelling to dissect societal divides and aspirations. If these mediums are effective at conveying intricate narratives, it seems to follow that they are equally capable of proposing, critiquing, and discussing theories. And one can picture that if a film is particularly factual — not just the documentary but also a particularly rigorous ‘based on true facts’ film it seems clear that film and video can be a form of expression not just for theory art but also for journalism as art.
Can Interdisciplinary Arts Be a Form of Both Journalism Art and Theory Art?
Interdisciplinary Arts, which include performance art, sound art, movement, choreography, and new media installation, encompass a fusion of performance, sound, and new media, allowing for the convergence of diverse ideas and forms. Because interdisciplinary arts enable the blending of multiple artistic elements, Marina Abramović’s performance piece, The Artist Is Present, challenges viewers to engage with theories of presence and human interaction through silent encounters. Laurie Anderson’s sound installations, such as United States Live, merge music, storytelling, and multimedia, creating immersive experiences that question the nature of reality. It follows that if these forms can address complex narratives, they are also adept at engaging with and discussing theories.
Can Literature Be a Form of Both Journalism Art and Visual Theory Art?
Literature, including novels, short stories, graphic writing, journalism, essays, biographies, creative nonfiction, memoir, poetry, and translations, offers a profound platform for theoretical exploration. James Baldwin’s The Fire Next Time delves into racial and societal theories, using personal narrative to expose the complexities of identity and prejudice. Baldwin’s essays resonate with the urgency of social change, akin to the critiques found in Arundhati Roy’s essays, where she examines globalization and environmental policies. In her works, such as The God of Small Things, Roy challenges readers to confront uncomfortable truths about power and oppression. If literature is effective in narrating human experiences, it may be argued that it is equally powerful in conveying, discussing, and critiquing theories.
Can Music Composition Be a Form of Both Journalism Art and Theory Art?
Music Composition, which includes all types of composition in all musical styles, from hip-hop to classical and from post-modern jazz to electronica, can convey theoretical ideas and narratives. John Cage’s 4'33" challenges the definition of music and silence, proposing a theory of auditory perception where ambient noise becomes the canvas. Kendrick Lamar’s To Pimp a Butterfly addresses social justice and identity through lyrical narratives, blending jazz, funk, and spoken word to explore the African American experience. Given that music can narrate complex experiences, it seems to follow that it can also propose, critique, and engage with theories.
Can Theater Be a Form of Both Journalism Art and Theory Art?
Theatre, including playwrights, librettists, devised theatre artists, performance artists, composers of musical theatre, as well as directors generating original material, provides a space for challenging societal norms and enacting theoretical concepts. Bertolt Brecht’s Mother Courage and Her Children critiques war and capitalism, employing the alienation effect to encourage critical reflection. Caryl Churchill’s plays, such as Top Girls, explore feminist theories and power dynamics, using non-linear narratives and overlapping dialogues to disrupt traditional storytelling. If theatre can effectively convey complex narratives, it is possible that it is equally adept at engaging with and discussing theories.
Can Visual Arts Be a Form of Both Journalism Art and Theory Art?
Visual Arts, encompassing three-dimensional and two-dimensional art, photographers, printmakers, sculptors, and creators of large-scale installations, intertwine theory and practice, blurring boundaries. Ai Weiwei’s politically charged artworks critique censorship and explore themes of freedom and human rights. Jenny Holzer’s text-based installations engage viewers in dialogues about power and consumerism, using language as a medium to provoke thought and introspection. If visual arts can narrate powerful stories, it seems to follow that they can also propose, critique, and convey complex theories.
The Art of Journalism and Beyond
The recognition of plain text formal journalism as an art form is logical and aesthetic support for the potential of other non-fiction writing forms, such as and including formal legal briefs filed in public courts, to be similarly regarded as an art form, whether it be within the rubric of journalism as or the rubric of theory as art. Further, many well-established movements — conceptual art, post-conceptual art, minimalism, post-minimalism, modern art, and postmodernism — have long recognized text-based art, including plain-text works by artists such as Jenny Holzer. These works have no visual or color elements, yet possess an aesthetic all their own (Holzer, Truisms, 1970s-present, USA).
By definition and by logic, journalism is text-based art; there are no principled ways to distinguish it or diminish it, and the same seems true as for the filing of a formal legal brief in a public judicial court, which is arguably both a work of text-based art and, by the act of placing it within the judicial branch of a government, a public forum, such a piece by an artist could also be considered performance art. To that end, and to come full circle is not the act of publishing journalism sometimes, if not always, also performance art?
A full cross-cultural analysis will have to wait for another paper, but it seems that, already, other cultures recognize journalism as art. For example, in Japan, Shashin may be seen as combining journalism and art by factually capturing realities and observations through photography, making it not unlike photo-journalism. As another example, Latin American writers like Gabriel García Márquez use narrative styles that blend journalism and fiction, employing magical realism to explore facts in the context of political and social themes. This fusion reflects a broader trend where storytelling, regardless of medium, serves as a tool for intellectual inquiry and artistic expression, and as such falls further supports the idea of journalism as art and theory as art.
Conclusion
The Art of Journalism, like Theory Art and Post-Theory Art, does two things at the same time: It falls within traditional artistic boundaries, and yet it also simultaneously logically expands those boundaries, including by recognizing the potential of all writing and theory expressions to be considered as art, including as having its own art aesthetic, and including, also by logical extension, as fitting well within our established and evolving notions of what art is, and can be.
References to Thinkers and Sources
- Susan Sontag, Against Interpretation (USA, 1966).
- Rem Koolhaas, Delirious New York (Netherlands, 1978).
- Zaha Hadid, architectural works (Iraq, UK, various years).
- Dziga Vertov, Man with a Movie Camera (Soviet Union, 1929).
- Bong Joon-ho, Parasite (South Korea, 2019).
- Marina Abramović, The Artist Is Present (Serbia, 2010).
- Laurie Anderson, sound installations (USA, various years).
- James Baldwin, The Fire Next Time (USA, 1963).
- Arundhati Roy, essays (India, various years).
- John Cage, 4'33" (USA, 1952).
- Kendrick Lamar, To Pimp a Butterfly (USA, 2015).
- Caryl Churchill, plays (UK, various years).
- Ai Weiwei, visual artworks (China, various years).
- Jenny Holzer, text-based installations (USA, various years).
- Ta-Nehisi Coates, Between the World and Me (USA, 2015).
- Michel Foucault, Discipline and Punish (France, 1975).
- Judith Butler, Gender Trouble (USA, 1990).
- Homi K. Bhabha, The Location of Culture (India, UK, 1994).
- Gabriel García Márquez, One Hundred Years of Solitude (Colombia, 1967).
