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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.

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
Shouting
Hope
Practically
Littles
Somewhat
Little
Protest
Always
Established
Injustice
Injustices
Anger
Derives
Corrected
Justice

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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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To remain innocent may also be. to remain ignorant.
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Never chain your dogs together with sausages. One must accustom one's self to be bored.
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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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What any true painting touches is an absence - an absence of which without the painting, we might be unaware. And that would be our loss.
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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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A drawing is essentially a private work, related only to the artist's own needs a 'finished' statue or canvas is essentially a public, presented work - related far more directly to the demands of communication.
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Photographs bear witness to a human choice being exercised in a given situation. A photograph is a result of the photographer's decision that it is worth recording that this particular event or this particular object has been seen. If everything that existed were continually being photographed, every photograph would become meaningless.
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Today the discredit of words is very great. Most of the time the media transmit lies. In the face of an intolerable world, words appear to change very little. State power has become congenitally deaf, which is why but the editorialists forget it terrorists are reduced to bombs and hijacking.
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In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man.
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We live in a dominant culture of ceaseless Departure and Progress that has so far lasted two or three centuries.
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The envied are like bureaucrats the more impersonal they are, the greater the illusion (for themselves and for others) of their power.
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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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The true content of a photograph is invisible, for it derives from a play, not with form, but with time.
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The extreme proposition on which Giacometti based all his mature work was that no reality... could ever be shared. This is why he believed it impossible for a work to be finished. This is why the content of any work is not the nature of the figure or head portrayed but the incomplete history of him staring at it.
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Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.
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The autobiographical doesn't interest me. I could think of few things less interesting than rooting about in my life.
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To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguises.
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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.
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Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.
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