Capitalism survives by forcing the majority, whom it exploits, to define their own interests as narrowly as possible.
JOHN BERGERHope is a contraband passed from hand to hand and story to story.
More John Berger Quotes
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Every painted image of something is also about the absence of the real thing. All painting is about the presence of absence.
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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 zoo cannot but disappoint.
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I can’t tell you what art does and how it does it, but I know that often 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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A man’s presence suggests what he is capable of doing to you or for you.
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This is not because they are callous or personally inhuman: it is because they live in and accept a society which is incapable of knowing what a human life is worth.
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Oil painting did to appearances what capital did to social relations. It reduced everything to the equality of objects.
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When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss.
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Glamour cannot exist without personal social envy being a common and widespread emotion.
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The contradiction in perspective was that it structured all images of reality to address a single spectator who, unlike God, could only be in one place at a time.
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The spectator-buyer is meant to envy herself as she will become if she buys the product.
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We only see what we look at. To look is an act of choice.
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Nothing fortuitous happens in a child’s world. There are no accidents. Everything is connected with everything else and everything can be explained by everything else. . . . For a young child everything that happens is a necessity.
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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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The unsung, impersonal world remains outside, on the other surface of a placenta. All songs, even when their content or rendering is strongly masculine, operate maternally.
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The camera relieves us of the burden of memory.
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Ethics determine choices and actions and suggest difficult priorities.
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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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Common-sense is part of the home-made ideology of those who have been deprived of fundamental learning, of those who have been kept ignorant.
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The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles.
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The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object – and most particularly an object of vision: a sight.
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Painting is something that you need to do, if not every day, then certainly most days. It is almost like being a pianist: if you stop, you lose something.
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We can become anything. That is why injustice is impossible here. There may be the accident of birth, there is no accident of death. Nothing forces us to remain what we were.
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Ever since the Greek tragedies, artists have, from time to time, asked themselves how they might influence ongoing political events.
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The happiness of being envied is glamour. Being envied is a solitary form of reassurance. It depends precisely upon not sharing your experience with those who envy you.
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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.
JOHN BERGER