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¡°The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace.¡± -Geoff Dyer
¡°Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation.¡± -Peter Fuller, Arts Review
¡°Over the past sixty years, the great John Berger - art critic, essayist, screenwriter, novelist, poet, and artist - has made immeasurable contributions to our understanding of culture and politics, never more potently than in Ways of Seeing.¡± ?The Village Voice
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** NEWS ALERT: John Berger, art critic and author, dies aged 90 **
John Berger¡¯s seminal text on how to look at art
John Berger¡¯s Ways of Seeing is one of the most stimulating and the most influential books on art in any language. First published in 1972, it was based on the BBC television series about which the Sunday Times critic commented: ¡°This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures.¡± By now he has.
¡°The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace.¡± -Geoff Dyer
¡°Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation.¡± -Peter Fuller, Arts Review
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·±´ø Å»ýÀ¸·Î, ¹Ì¼úºñÆò°¡, »çÁøÀ̷а¡, ¼Ò¼³°¡, ´ÙÅ¥¸àÅ͸® ÀÛ°¡, »çȸºñÆò°¡·Î ³Î¸® ¾Ë·ÁÁ® ÀÖ´Ù. óÀ½ ¹Ì¼úÆò·ÐÀ¸·Î ½ÃÀÛÇØ Á¡Â÷ °ü½É°ú È°µ¿ ¿µ¿ªÀ» ³ÐÇô ¿¹¼ú°ú Àι®, »çȸ Àü¹Ý¿¡ °ÉÃÄ ±í°í ¸íÄèÇÑ °üÁ¡À» Á¦½ÃÇØ ¿Ô´Ù. Áß³â ÀÌÈÄ ÇÁ¶û½º µ¿ºÎÀÇ ¾ËÇÁ½º »ê·Ï¿¡ À§Ä¡ÇÑ ½Ã°ñ ³óÃÌ ¸¶À»·Î ¿Å°Ü °¡ »ì¸é¼ ³ó»çÀÏ°ú ±Û¾²±â¸¦ º´ÇàÇÏ°í ÀÖ´Ù. Àú¼·Î, ¡º¿ì¸® ½Ã´ëÀÇ È°¡(A Painter of Our Time)¡» ¡ºÇÇÄ«¼ÒÀÇ ¼º°ø°ú ½ÇÆÐ(The Success and Failure of Picasso)¡» ¡º¿¹¼ú°ú Çõ¸í(Art and Revolution)¡» ¡º¾î¶»°Ô º¼ °ÍÀΰ¡(Ways of seeing)¡» ¡ºº»´Ù´Â °ÍÀÇ ÀǹÌ(About Lookin g)¡» ¡º¸»ÇϱâÀÇ ´Ù¸¥ ¹æ¹ý(Another Way of Telling)¡» ¡º¼¾½º ¿Àºê »çÀÌÆ®(The Sense of Sight)¡» ¡º±×¸®°í »çÁøó·³ µ¡¾ø´Â ¿ì¸®µéÀÇ ¾ó±¼, ³» °¡½¿(And Our Faces, My Heart, Brief as Photos)¡» ¡ºÁ¸ ¹ö°ÅÀÇ ±Û·Î ¾´ »çÁø(Photocopies)¡» ¡º¿©±â, ¿ì¸®°¡ ¸¸³ª´Â °÷(Here is where we meet)¡» ¡º¸ðµç °ÍÀ» ¼ÒÁßÈ÷ Ç϶ó(Hold Everything Dear)¡» ¡º¾ÆÇÄÀÇ ±â·Ï(Pages of the Wound)¡»±×¸®°í »ïºÎÀÛ ¡º±×µéÀÇ ³ëµ¿¿¡ ÇÔ²² ÇÏ¿´´À´Ï¶ó(Into Their Labours)¡» µî°ú ¿µ±¹ÀÇ ±ÇÀ§ÀÖ´Â ¹®ÇлóÀÎ ºÎÄ¿»ó ¼ö»ó ¼Ò¼³ ¡ºG¡» °¡ ÀÖ´Ù.
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