(…)The issue is not between innocence and knowledge (or between the natural and the cultural) but between a total approach to art which attempts to relate it to every aspect of experience and the esoteric approach of a few specialized experts who are the clerks of the nostalgia of a ruling class in decline. (in decline, not before the proletariat, but before the new power of the corporation and the state.) The real question is: to whom does the meaning of the art of the past properly belong? To those who can app|y it to their own lives, or to a cultural hierarchy of relic specialists? The visual arts have always existed within a certain preserve; originally this preserve was magical or sacred. But it was also physical : it was the place, the cave, the building, in which, or for which, the work was made. The experience of art, which at first was the experience of ritual, was set apart from the rest of life - precisely in order to be able to exercise power over it. Later the preserve of art became a social one. It entered the culture of the ruling class, whilst physically it was set apart and isolated in their palaces and houses. During all this history the authority of art was inseparable from the particular authority of the preserve. What the modern means of reproduction have done is to destroy the authority of art and to remove it - or, rather, to remove its images which they reproduce - from any preserve. For the first time ever, images of art have become ephemeral, ubiquitous, insubstantial, available, valueless, free. They surround us in the same way as a language surrounds us. They have entered the mainstream of life over which they no longer, in themselves, have power.(…) The art of the past no longer exists as it once did. Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums. As usually presented, these are narrow professional matters. One of the aims of this essay has been to show that what is really at stake is much larger. A people or a class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history. This is why - and this is the only reason why - the entire art of the past has now become a political issue.(…)
John Berger, “Ways of Seeing”, p. 32-33, Penguin
