'Language is a body, a living creature ... and this creature's home is the inarticulate as well as the articulate'. John Berger's work has revolutionized the way we understand visual language. In this new book he writes about language itself, and how it relates to thought, art, song, storytelling and political discourse today. Also containing Berger's own drawings, notes, memories and reflections on everything from Albert Camus to global capitalism, Confabulations takes us to what is 'true, essential and urgent'.
As a novelist, art critic, and cultural historian, Booker Prize-winning author John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.
"In this incisive counter-polemic Peter Fuller underlines what is most valuable in Berger's criticism, while attacking the art ideologists who would negate the existence of any aesthetic experience. He succinctly agues the case for a materialistic understanding of art and its value which moves beyond ideology and permits one to confront the 'masterpiece', the work of art which breaks free from the norms of tradition and transcends its time."--back cover.
With this provocative and infinitely moving collection of essays, a preeminent critic of our time responds to the profound questions posed by the visual world. For when John Berger writes about Cubism, he writes not only of Braque, Léger, Picasso, and Gris, but of that incredible moment early in this century when the world converged around a marvelouis sense of promise. When he looks at the Modigiliani, he sees a man's infinite love revealed in the elongated lines of the painted figure. Ranging from the Renaissance to the conflagration of Hiroshima; from the Bosphorus to Manhattan; from the woodcarvers of a French village to Goya, Dürer, and Van Gogh; and from private experiences of love and of loss to the major political upheavals of our time, The Sense of Sight encourages us to see with the same breadth, courage, and moral engagement that its author does.
"There are no photographs which can be denied. All photographs have the status of fact. What is to be examined is in what way photography can and cannot give meaning to facts." With these words, two of our most thoughtful and eloquent interrogators of the visual offer a singular meditation on the ambiguities of what is seemingly our straightforward art form. As constructed by John Berger and the renowned Swiss photographer Jean Mohr, that theory includes images as well as words; not only analysis, but anecdote and memoir. Another Way of Telling explores the tension between the photographer and the photographed, between the picture and its viewers, between the filmed moment and the memories that it so resembles. Combining the moral vision of the critic and the pratical engagement of the photgrapher, Berger and Mohr have produced a work that expands the frontiers of criticism first charged by Walter Benjamin, Roland Barthes, and Susan Sontag.
From the New York Times bestselling author of Steal Like an Artist and Show Your Work! comes an interactive journal and all-in-one logbook to get your creative juices flowing, and keep a record of your ideas and discoveries. The Steal Like an Artist Journal is the next step in your artistic journey. It combines Austin Kleon’s unique and compelling ideas with the physical quality that makes journals like Moleskines so enormously popular. Page after page of ideas, prompts, quotes, and exercises are like a daily course in creativity. There are lists to fill in—Ten Things I Want to Learn, Ten Things I Probably Think About More Than the Average Person. Challenges to take. Illustrated creative exercises—Make a Mixtape (for someone who doesn’t know you) and Fill in the Speech Balloons. Pro and con charts—What Excites You?/What Drains You? The journal has an elastic band for place-marking and a special pocket in the back—a “swipe file” to store bits and pieces of inspiration. Because if you want to steal like an artist, you need a place to keep your loot.
This text is an original reinterpretation of the iconic photographs of the black civil rights struggle. Berger's provocative study shows how the very pictures credited with arousing white sympathy, and thereby paving the way for civil rights legislation, actually limited the scope of racial reform in the 1960s.
Ways of Seeing is a key art-historical work that continues to provoke widespread debate. Berger first examines how our assumptions affect how we see a painting, then he moves on to the role of women in artwork. The third essay deals with the relationship between subjects and ownership. Finally, Berger addresses the idea of ownership in a consumerist society.
From John Berger, the Booker Prize-winning author of G., A Painter of Our Time is at once a gripping intellectual and moral detective story and a book whose aesthetic insights make it a companion piece to Berger's great works of art criticism. The year is 1956. Soviet tanks are rolling into Budapest. In London, an expatriate Hungarian painter named Janos Lavin has disappeared following a triumphant one-man show at a fashionable gallery. Where has he gone? Why has he gone? The only clues may lie in the diary, written in Hungarian, that Lavin has left behind in his studio. With uncanny understanding, John Berger has written oneo f hte most convincing portraits of a painter in modern literature, a revelation of art and exile.