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About looking

Author: John Berger
Publisher: London : Bloomsbury Paperbacks, 2015, copyright 2015.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
As a novelist, essayist, and cultural historian, 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  Read more...
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Genre/Form: Electronic books
Additional Physical Format: Print version:
Berger, John.
About Looking.
London : Bloomsbury Paperbacks, 2015
(OCoLC)302072906
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: John Berger
ISBN: 9781408872154 1408872153
OCLC Number: 933297143
Description: 1 online resource (224 pages)
Contents: Cover; Title Page; Dedication; Table of Contents; WHY LOOK AT ANIMALS?; WHY LOOK AT ANIMALS?; USES OF PHOTOGRAPHY; The Suit and the Photograph; Photographs of Agony; Paul Strand; Uses of Photography; MOMENTS LIVED; The Primitive and the Professional; Millet and the Peasant; Seker Ahmet and the Forest; Lowry and the Industrial North; Ralph Fasanella and the Experience of the City; La Tour and Humanism; Francis Bacon and Walt Disney; An Article of Faith; Between Two Colmars; Courbet and the Jura; Turner and the Barber's Shop; Rouault and the Suburbs of Paris; Magritte and the Impossible. Hals and BankruptcyGiacometti; Rodin and Sexual Domination; Romaine Lorquet; Field; PICTURE ACKNOWLEDGMENTS; ACKNOWLEDGMENTS; A NOTE ON THE AUTHOR; BY THE SAME AUTHOR; eCopyright.
Responsibility: John Berger.

Abstract:

As a novelist, essayist, and cultural historian, 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 alters the vision of anyone who reads his work.

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