Ways of Seeing
John Berger

In his book Ways of Seeing, John Berger brings up several interesting points regarding the cognition of art. According to him, we no longer comprehend visual images as merely what we see in front of us. Rather, our view of the images is concealed by that which we already know – the image’s reputation and value, the artist’s other works, the context of the art, and the many reproductions created of the image. This, Berger argues, falsifies the concept of art; it is practically impossible for adults to restore the “innocence” with which a child looks at a visual image.

Berger’s theories can be applied to any type of visual images, including modern art. When visiting the Museum of Modern Art, one should keep in mind that a piece of art is meant to be looked at and explored with no conceptualized views. Even if a painting is extremely famous, seeing it “live” is equivalent to seeing it for the first time. The experience of being a museum-goer isn’t about the value of the art one is looking it nor is it about the meaning the painting is “supposed” to have. One should walk into any museum with an extremely open mind and a willingness to feel.

It is not only important to have an open mind, but also to be confident one’s own perception when experiencing art. This way, the experience and the discussions become more enjoyable, honest, and meaningful.

I'm deeply thankful to John Berger for pointing my attention to:

·         A different meaning that word and our own emotions bring to the art piece.

·         Status and power that content of classical European oil paintings ensured to the owner;

·         Gender issues and portrayal of the female body (I love how Berger draws a clear line between terms 'nude' and 'naked');

·         “An analysis of glamour as an invention of industrial society in modern times during which 'The pursuit of individual happiness has been acknowledged as a universal right. Yet the existing social conditions make the individual feel powerless” (p.148). And I'm pretty sure; no one ever forgot to show this book to people in advertising business.

In a world full of reproductions, the currency of art (as much as the currency of the human body) is so much a part of our culture that we barely notice it – except, perhaps, when a Damien Hurst is bought for millions of pounds during the beginnings of a credit crunch. Berger is a political reminder of what that exchange means. Put it on the school curriculum! Every adolescent should read it.