Cow dung and horse dung, as muck goes, are relatively agreeable. You can even become nostalgic about them. They smell of fermented grain, and on the far side of their smell there is hay and grass. Chicken shit is disagreeable and rasps the throat because of the quantity of ammonia. When you are cleaning out the hen house, you’re glad to go to the door and take a deep breath of fresh air. Pig and human excrement, however, smell the worst, because men and pigs are carnivorous and their appetites are indiscriminate. The smell includes the sickeningly sweet one of decay. And on the far side of it there is death.
John Berger, CC BY-SA 4.0
Seeing comes before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.
John Berger, CC BY-SA 4.0
Images were first made to conjure up the appearances of something that was absent. Gradually it became evident that an image could outlast what it represented; it then showed how something or somebody had once looked – and thus by implication how the subject had once been seen by other people. Later still the specific vision of the image-maker was also recognized as part of the record. An image became a record of how X had seen Y.
John Berger, CC BY-SA 4.0
The uniqueness of every painting was once part of the uniqueness of the place where it resided.
John Berger, CC BY-SA 4.0
According to usage and conventions which are at last being questioned but have by no means been overcome, the social presence of a woman is different in kind from that of a man. A man’s presence is dependent upon the promise of power which he embodies. If the promise is large and credible his presence is striking. If it is small or incredible, he is found to have little presence. The promised power may be moral, physical, temperamental, economic, social, sexual – but its object is always exterior to the man. A man’s presence suggests what he is capable of doing to you or for you. His presence may be fabricated, in the sense that he pretends to be capable of what he is not. But the pretence is always towards a power which he exercises on others. By contrast, a woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surroundings, taste – indeed there
John Berger, CC BY-SA 4.0
What do these conventions mean? What does a nude signify? It is not sufficient to answer these questions merely in terms of the art-form, for it is quite clear that the nude also relates to lived sexuality. To be naked is to be oneself. To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. (The sight of it as an object stimulates the use of it as an object.) Nakedness reveals itself. Nudity is placed on display. To be naked is to be without disguise. To be on display is to have the surface of one’s own skin, the hairs of one’s own body, turned into a disguise which, in that situation, can never be discarded. The nude is condemned to never being naked. Nudity is a form of dress.
John Berger, CC BY-SA 4.0

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Nationalities: United Kingdom, France
Languages: English
Years active: 1948–2016
Education: Central School of Art and Design, Chelsea College of Art and Design, St Edward's School