Ways of Seeing

It is an appearance, or a set of appearances, which has been detached from the place and time in which it first made its appearance and preserved – for a few moments or a few centuries. Every image embodies a way of seeing. Even a photograph. For photographs are not, as is often assumed, a mechanical record. Every time we look at a photograph, we a

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 displ

Adults and children sometimes have boards in their bedrooms or living-rooms on which they pin pieces of paper: letters, snapshots, reproductions of paintings, newspaper cuttings, original drawings, postcards. On each board all the images belong to the same language and all are more or less equal within it, because they have been chosen in a highly

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 displ

When we ‘see’ a landscape, we situate ourselves in it. If we ‘saw’ the art of the past, we would situate ourselves in history. When we are prevented from seeing it, we are being deprived of the history which belongs to us. Who benefits from this deprivation? In the end, the art of the past is being mystified because a privileged minority is strivin

You painted a naked woman because you enjoyed looking at her, you put a mirror in her hand and you called the painting Vanity, thus morally condemning the woman whose nakedness you had depicted for your own pleasure.

The real function of the mirror was otherwise. It was to make the woman connive in treating herself as, first and foremost, a sight.

The interminable present of meaningless working hours is ‘balanced’ by a dreamt future in which imaginary activity replaces the passivity of the moment. In his or her day-dreams the passive worker becomes the active consumer. The working self envies the consuming self.

The spectator-buyer is meant to envy herself as she will become if she buys the product. She is meant to imagine herself transformed by the product into an object of envy for others, an envy which will then justify her loving herself. One could put this another way: the publicity image steals her love of herself as she is, and offers it back to her

Hack work is not the result of either clumsiness or provincialism; it is the result of the market making more insistent demands than the art. The period of the oil painting corresponds with the rise of the open art market. And it is in this contradiction between art and market that the explanations must be sought for what amounts to the contrast, t