Over to You is an ever-evolving meditation on images by the art critic and his youngest son, two men linked by blood and art.
John Berger
Posted inBooks
John Berger Lost His Eyesight to Cataracts and Learned to See
After being afflicted with cataracts, the late critic and novelist reflected on the mechanics of sight.
Posted inBooks
How John Berger Restores Our Relationship to Art
A new biography on Berger reveals a writer who to this day speaks most eloquently and passionately to our frustrations, fears, hopes, and desires.
Posted inArt
The Wide Span of John Berger’s Career in a New Biography
In honor of the book’s release, this Saturday, Artbook at Hauser & Wirth will host a book signing and discussion between author Joshua Sperling and Hyperallergic editor Elisa Wouk Almino.
Posted inFilm
John Berger and Alain Tanner’s Films About Life After Political Failure
John Berger’s attraction to the primacy of storytelling led him to the Swiss filmmaker Alain Tanner, who together collaborated on a series of three films, now showing at Metrograph.
Posted inArt
Writers Pay Tribute to John Berger at McNally Jackson Bookstore
Hyperallergic editors Jillian Steinhauer and Elisa Wouk Almino have organized a tribute to John Berger on Monday, February 20.
Posted inArt
John Berger’s Rare Art Criticism
Berger’s art criticism succeeds because of its tangibility — it is grounded in human experience, historical events, and the physical artworks.
Posted inNews
John Berger, Who Helped the World to See, Dies at 90
The author of Ways of Seeing had a profound impact on generations of artists, critics, historians, curators, and art lovers.
Posted inBooks
Mining the Unknown in Julian Barnes and John Berger’s Essays on Art
Underlying Julian Barnes’s and John Berger’s respective new collections on art, Keeping an Eye Open and Portraits, is the notion that we’re still figuring out how to engage with and portray the past.
Posted inArt
The Inner Life of a Museum
Jem Cohen’s new feature film, Museum Hours, unfolds like a series of postcards from a lonely traveler, fresh with the pressure of on-site writing while calculating that the memory will be received miles and days away. Shooting primarily in Vienna’s Kunsthistorisches Museum, Cohen’s foreign camera seeks the familiar: the stony wrinkles around ancient Roman eyes, a clean white egg inside a still life, a child’s ill-fitting hat in one of Bruegel’s noisy marketplaces. Art, Cohen seems to say, is a refuge for the outsider.