When I was a child her sureness enraged me (regardless of the argument involved). It was a sureness that revealed - at least to my eyes - how, behind the bravado, she was vulnerable and hesitent, whereas I wanted her to be invincible. Consequently, I would contradict whatever it was she was being so certain about, in the hope we might discover something else, which we could question together with a shared confidence. Yet what happened, in fact, was that my counterattacks, made her more frail than she usually was, and the two of us would be drawn, helpless, into a malestrom of perdition and lamentation, silently crying out for an angel to come and save us. On no such occasion did an angel come.
John BergerSo time doesn't count, and place does?' I said this to tease her. When I was a man, I liked teasing her and she went along with it, consenting, for it reminded us both of a sadness that had passed.
John BergerThe publicity image steals her love of herself as she is, and offers it back to her for the price of the product.
John BergerMen look at women. Women watch themselves being looked at.
John BergerThe 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.
John BergerStichwörter: encounter
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.
John BergerThe collaboration which sometimes follows is seldom based on good will: usually on desire, rage, fear, pity or longing. The modern illusion concerning painting (which post-modernism has done nothing to correct) is that the artist is the creator. Rather he is a reciever. What seems like creaton is the act of giving form to what he has recieved.
John BergerWe are accused of being obsessed by property. The truth is the other way round. It is the society and culture in question which is so obsessed. Yet to an obsessive his obsession always seems to be of the nature of things and so is not recognized for what it is. The relation between property and art in European culture appears natural to that culture, and consequently if somebody demonstrates the extent of the property interest in a given cultural field, it is said to be a demonstration of his obsession. And this allows the Cultural Establishment to project for a little longer its false rationalized image of itself.
John BergerStichwörter: property
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.
John BergerIf every event which occurred could be given a name, there would be no need for stories.
John BergerStichwörter: stories storytelling labels
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