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Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.

John Berger

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John Berger
Age: 90 †
Born: 1926
Born: November 5
Died: 2017
Died: January 2
Art Critic
Art Historian
Author
Critic
Journalist
Novelist
Opinion Journalist
Painter
Poet
Screenwriter
Writer
Hackney
John Peter Berger
Dresses
Nakedness
Naked
Nude
Beauty
Nudity
Form
Condemned
Never
Reveals
Placed
Display
Dress

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The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognizes neither pity nor pitilessness.
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It is seeing which establishes our place in the surrounding world we explain that world with words, but words can never undo the fact that we are surrounded by it
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Capitalism survives by forcing the majority, whom it exploits, to define their own interests as narrowly as possible. This was once achieved by extensive deprivation. Today in the developed countries it is being achieved by imposing a false standard of what is and what is not desirable.
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Without ethics man has no future. This is to say mankind without them cannot be itself. Ethics determine choices and actions and suggest difficult priorities.
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Protest and anger practically always derives from hope, and the shouting out against injustice is always in the hope of those injustices being somewhat corrected and a little more justice established.
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History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystification of the past
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One can say of language that it is potentially the only human home, the only dwelling place that cannot be hostile to man.
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'Fahrenheit 9/11' is astounding. Not so much as a film - although it is cunning and moving - but as an event.
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What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind.
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Photography, because it stops the flow of life, is always flirting with death.
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My heart born naked was swaddled in lullabies. Later alone it wore poems for clothes. Like a shirt I carried on my back the poetry I had read. So I lived for half a century until wordlessly we met. From my shirt on the back of the chair I learn tonight how many years of learning by heart I waited for you.
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The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich.
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[O]ften art has judged the judges, pleaded revenge to the innocent and shown to the future what the past suffered, so that it has never been forgotten. . . .
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The human imagination... has great difficulty in living strictly within the confines of a materialist practice or philosophy. It dreams, like a dog in its basket, of hares in the open.
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When we read a story, we inhabit it. The covers of the book are like a roof and four walls.
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What is saved in the cinema when it achieves art is a spontaneous continuity with all mankind. It is not an art of the princes or the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their single lives.
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If every event which occurred could be given a name, there would be no need for stories.
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Whenever the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one through the appearance of whatever it is one is scrutinizing.
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Directors like Satyajit Ray, Rossellini, Bresson, Buñuel, Forman, Scorsese, and Spike Lee have used non-professional actors precisely in order that the people we see on the screen may be scarcely more explained than reality itself. Professionals, except fo the greatest, usually play not just the necessary role, but an explanation of the role.
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The past is the one thing we are not prisoners of. We can do with the past exactly what we wish. What we can't do is to change its consequences.
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