thirty years on, 'Ways of Seeing' continues to be a major primary textbook, not just for those studying or interested in fine art, but in any of the humanities from literature to cinema. You can see the appeal for lecturers - difficult but essential theorists such as Benjamin and Barthes are explained with bite-size lucidity, even if this sometimes has the effect of caricaturing their work. As Geoff Dyer has noted, much of the impetus given to Cultural Studies, the critical/academic form of post-modernism, can be traced to Berger's TV series and this book: many of the questions raised and areas for study pinponted have generated a whole academic industry.
In seven chapters, Berger assaults the traditional bastions of art 'appreciation', with its obfuscating jargon, elitist interests and, most damagingly, its insistence on timeless, non-'historical' values. three of these essays are text-free, image-based, and Berger claims all the essays can be read independently and in any order, as part of the process of 'deconstructing' the apparatus of art criticism that includes laying bare the mechanics, manipulations and limitations of his arguments, and undermining the very idea of coherent authorship by suggesting the name 'John Berger' signifies a five-piece collective.
In seven chapters, Berger assaults the traditional bastions of art 'appreciation', with its obfuscating jargon, elitist interests and, most damagingly, its insistence on timeless, non-'historical' values. three of these essays are text-free, image-based, and Berger claims all the essays can be read independently and in any order, as part of the process of 'deconstructing' the apparatus of art criticism that includes laying bare the mechanics, manipulations and limitations of his arguments, and undermining the very idea of coherent authorship by suggesting the name 'John Berger' signifies a five-piece collective.
