John Berger Essays

John Berger Essays-52
It 'cannot be used to explain the mysterious,' only to make the mysterious 'easier to notice.' For all that he has written, his genius is evident not in what he says of art, but in his ability to amplify its many voices."“An outstanding celebration of the commitment, compassion, and fierceness of John’s generosity in his life and work.

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In keeping with this spirit, the contributions to A Jar of Wild Flowers challenge us to take the brave step outside ourselves to offer extended generosity and compassion.‘Keep it cool, man,’ he whispered, ‘keep it cool.’)The same year, he made a television series which turned that same articulate anger on establishment narratives of art history. Clark had offered a grand tour of the Western tradition, introduced from the study of his country house, interspersed with globe-trotting location sequences which would become the template for big-budget documentary series.By contrast, Berger stands against a blue-screen in a studio, and this is used not to transport him to any pre-filmed backdrop, but to place the mechanics of television in shot, questioning the ways in which it can be used to lead an audience.In celebration of the ninetieth birthday of eminent artist and writer John Berger, AJar of Wild Flowers brings together essays, reflections, and conversations about his work.For decades, Berger’s poetic humanism has inspired and brought together historically, geographically, and socially disparate subjects.We remain endowed and indebted to him.” “The book brings together a choir of artistic collaborators, fans, and friends, which is a fitting tribute to someone whose talents run the gamut of intellectual and artistic.He was one of those writers — one of those people — whose influence runs so deep that I hardly know who I would be, had his work not come into my life when it did. And each year, he pays a part of his rent by helping with the haymaking in the field above his house.To list the people he writes about in such categories is misleading, for the relentless specificity of his gaze seldom allows such generalisations.The cumulative effect of his writing, though — and of the relationships from which it emerges — is to test what can be believed against what must be endured.In a particular sense, he embodies the ‘uncivilised writing’ called for by the Dark Mountain manifesto.The concept of civilisation is entangled to its roots with the experience of cities.


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