John Berger wasn’t just an art critic—he was a provocateur, dismantling how we see, interpret, and assign meaning to images. Ways of Seeing isn’t just about art; it’s about perception itself.
Through seven essays—some written, some visual—Berger challenges us to question what we take for granted about beauty, representation, history, and power. It’s a book that doesn’t just inform; it rewires the way you look at the world.
The Thesis:
Seeing is not a passive act—it’s shaped by history, culture, and power. The way we interpret art (and media at large) isn’t just about what’s in front of us, but about the structures that define how we see.
Key Takeaways:
1. The Male Gaze Shapes Representation
"Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves."
Women are taught to see themselves through the eyes of others, turning their own image into an object to be managed and controlled. This dynamic is embedded in everything—from classical paintings to modern advertising.
2. Nudity vs. Nakedness
"To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself."
Berger distinguishes between being naked (a state of being) and being nude (a state of being seen). The latter strips a person of autonomy, transforming them into a subject to be consumed rather than an individual to be recognized.
3. The Erasure of History is a Political Act
"A people or a class which is cut off from its own past is far less free to choose and to act than one that has been able to situate itself in history."
Who controls history controls power. When entire narratives are erased or distorted, people lose the ability to understand themselves within a larger context.
4. Advertising is Psychological Warfare
"The only places relatively free of advertisements are the quarters of the very rich; their money is theirs to keep."
Advertising sells aspiration—an endless loop of inadequacy and consumption. Those who already have power don’t need to be sold an illusion of it.
5. Original Art vs. Mass Reproduction
"Original paintings are silent and still in a sense that information never is."
The modern world is saturated with images—but something shifts when you stand before an original piece of art. It isn’t about information or reproduction; it’s about presence.
Final Thoughts:
This book feels like an unlearning—pulling back the layers on ideas we’ve absorbed without question. It’s a reminder that seeing is never neutral, and the way we interpret the world is just as important as what’s in it.
If seeing is an act of power, the real question is: Who taught you how to see?