John Berger's way of seeing
Introduction: A Groundbreaking Contribution to Visual Culture**
John Berger’s *Ways of Seeing* (1972) remains one of the most influential texts in the field of Visual Studies, offering a radical reinterpretation of how we engage with images, particularly in the context of Western art and media. First presented as a BBC television series and later adapted into a book, Berger’s work challenged dominant assumptions about art history, representation, and spectatorship, reshaping the ways scholars, artists, and everyday viewers approach visual culture. From a Visual Studies standpoint—a discipline that interrogates how images function across contexts—*Ways of Seeing* is a foundational text that problematizes vision itself as a cultural, ideological, and political act.
The Act of Seeing: Vision is Constructed, Not Natural**
At the heart of Berger’s argument is the idea that “seeing comes before words.” This deceptively simple statement carries profound implications. In Visual Studies, which explores how meaning is constructed through images, Berger’s insight foregrounds how looking is never neutral or passive. Instead, what we see is shaped by context, ideology, and prior knowledge. This notion paved the way for understanding visuality not as a transparent window into reality but as a culturally determined process. Berger reveals that images—whether classical paintings or modern advertisements—communicate powerfully, yet the meanings we derive are not fixed but shaped by social structures.
Challenging the Authority of the Canon**
One of Berger’s most radical contributions lies in his critique of the Western artistic canon. By questioning the traditional reverence for “great art,” Berger undermines the elitism often associated with galleries, museums, and art history itself. He draws attention to the hidden ideologies within oil paintings, especially the way they reflect and reinforce property, wealth, and gender hierarchies. In Visual Studies, which often seeks to deconstruct power embedded in visual regimes, this democratizing move is essential. Berger’s insistence that art must be viewed in relation to who produces it, who owns it, and how it is circulated was a turning point in the field.
Reproduction and the Shift in Image Meaning
A key theme in *Ways of Seeing* is how technological reproduction transforms the meaning of artworks. Berger draws from Walter Benjamin’s concept of the “aura” to explain how mechanical reproduction (e.g., photography, television) detaches artworks from their original time and place. This insight is vital in Visual Studies, where scholars frequently examine how mass media alters the experience of visual artifacts. Berger argues that once images can be endlessly reproduced and recontextualized, their meaning is no longer controlled by their creators or institutions but is instead subject to manipulation. This anticipates today’s digital age, where images are constantly reframed across platforms.
The Male Gaze and the Objectification of Women
Perhaps the most widely discussed section of *Ways of Seeing*—especially in Visual and Gender Studies—is Berger’s analysis of the female nude in Western art. He introduces the concept of the **male gaze**, arguing that women are typically portrayed as passive objects to be viewed by an active, male subject. He writes, “Men act and women appear.” This simple yet powerful formulation exposes how representation enforces gender roles and shapes how women are perceived and perceive themselves. Berger’s critique predates and influences later feminist theorists such as Laura Mulvey, making his work a cornerstone in analyzing visual constructions of gender.
Commodity Culture and Image Consumption
Berger also draws a connection between traditional oil painting and modern advertising, suggesting that both serve similar ideological functions. He notes how both types of imagery focus on status, possessions, and desire, reinforcing consumerist values. In Visual Studies, this link between image and ideology is crucial. Berger shows that advertising doesn’t merely sell products—it sells a way of life, a vision of success and happiness shaped by material gain. This analytical move—linking fine art and popular visual culture—opened the doors for academics to take everyday images seriously, from billboards to Instagram feeds.
Visual Studies and the Democratization of Looking
One of Berger’s most enduring legacies is his effort to make the act of looking democratic. He encourages readers to question who controls what we see, how we see it, and why. This aligns closely with the goals of Visual Studies, which seeks to unpack how power operates through images. Berger’s accessible writing style, inclusion of photographic examples, and use of television as a medium all signal his commitment to reaching a broader audience—not just academics. In doing so, he emphasized that visual literacy is not a luxury, but a necessary skill in a media-saturated world.
Conclusion: Berger’s Ongoing Relevance in Visual Studies**
Over fifty years since its publication, *Ways of Seeing* continues to resonate with scholars and students in Visual Studies. Its relevance has only grown in the digital era, where images dominate communication, identity, and politics. Berger’s insights into visual ideology, representation, and spectatorship remain vital tools for analyzing everything from museum exhibitions to social media. By teaching us not just *what* we see, but *how* and *why* we see it, Berger empowers readers to become critical viewers of their world. In this sense, *Ways of Seeing* is not just a book it’s a lens through which to view the visual culture that surrounds us.
