100 books like Techniques of the Observer

On Photography is Sontag’s attempt to develop the thought of Barthes, Benjamin, and others and apply the resultant perspective to the critical understanding of the fundamental role of photography in modern life. The book is constructed as a series of interconnected essays, each of which explores the moral and dialectical character of photographic interventions. Photography embodies the moral ambiguity of human activity: the camera claims to deliver truth but is essentially selective and partial; photography reveals and conceals the real; the photograph is an artificial mode of representation but claims to provide a `picture’ of life that can only be captured through the camera.

This ambiguous ontology of the image impacts upon both the act of image-making and the interpretive task of reading and understanding the image. With modern photography the viewer is constituted in a dual movement of separation (and alienation) and connectivity (and communality). Photographic engagement constitutes, so… show more.

This book was introduced on the first day of art school. Then, it was reintroduced and repeated by each professor for the duration of my education. As such, it's fair to say that it's an enduring force within academic circles. 

The book touches on major points essential for any informed artist and the need for modern artists to subvert our viewers' hidden biases. It eloquently teaches artists to dive beneath the surface of a work to understand the unseen, the context, and the subtext. Ways of Seeing skillfully inspires a new lens through which to view the world and urges its readers to peel back the layers of meaning from even the most minimal artworks.

For me and so many other artists, this book was an awakening and is one that I turn back to often and am doomed to cite for eternity. It's a transformative journey that challenges and… show more.

In contrast to John Berger’s Marxist aesthetic, Barthes’s approach to visual experience and photographic images draws upon the tradition of semiotics and, to a degree, postmodern theories of text and intertextuality. Barthes leads his reader into the codes and conventions of the image. How images signify is thus made a central topic that provokes self-reflection and reflexive challenges to conventional image analysis. Where Berger’s work is expository and analytic, Barthes's book is exploratory and novelistic (Barthes would have his reader approach the work as a kind of intertextual fiction). As the title of the work suggests, this is Barthes at his most personal and reflective. His fascination remains with the photographic image which is presented as one of the defining aesthetic objects of modernity. But the act of photography is now itself complex, mediated, and open to a range of concrete experiential impulses.

Here the viewer of the photograph is… show more.

Like most of Benjamin’s essays and books, "The Work of Art" essay is a dialectical study of the material conditions of the possibility of the work of art in the context of the conditions of modern reproduction techniques. Benjamin delineates a visual phenomenology of the essential features of the traditional artwork (its singularity in time and place, its disengagement from mundane experience, its provocation of thought and reflection, and its local `auratic’ presence). This frames the background to the question of the fate of art in an era where the singular work of art can be replicated and endlessly reproduced through technological means.

The artwork achieves a massive expansion in terms of audience reception and interpretation, but it is also stripped of its `aura’ and transgressive 'presence’. This analysis allows Benjamin to explore the impact of modernity upon structures of experience as a dialectical `loop’ that circles back upon the… show more.

This is a classic book by German-born psychologist Rudolf Arnheim, in which he lays out the principles underlying our perception and understanding of works of visual art.  One of the major principles discussed is the human tendency to see the simplest form possible in any visual array. This ‘simplicity principle’ is also used to explain the intelligence and inventiveness of children’s art. In a brilliant chapter called Growth, Arnheim shows us that children are not striving towards realism; rather they are trying to create the simplest possible recognizable structural equivalent for the object they are representing.  The inventiveness with which children reduce complex forms to simple structural equivalents requires far more intelligence than mindless copying.  

Ernst Gombrich's masterpiece, published in 1960 and still in print, follows the drive in Western Art from Ancient Greece and Egypt to the present day, to achieve the illusion of realistic appearance in pictures. Kenneth Clark, himself a most accomplished art historian and writer, described Art and Illusion as 'One of the most brilliant books on art criticism I have ever read." I too admire the way the book combines great erudition with a clear conversational style and an ability to move beyond the usual confines of art history. Gombrich uses findings from psychology to illuminate his argument, supported with a surprising range of illustrations, not just from the fine arts, but from advertising, photography, caricature, and cartoons. Brilliant indeed.

This book outlines how the visual field operates at a psychological level.

I am an architect and cannot believe that we don’t teach straight from this and other Arnheim books more often. If you want to know what is happening to you, why you get chills up your spine when looking at art, read this book.

Arnheim is a psychologist, not a designer, so he breaks art down from this perspective.

This is a book of essays about the act of looking, especially looking at photographs and paintings and animals and other people. Thus these are essays about history, memory, suffering, beauty, and the self. Berger had a generous spirit; he wrote often about the lives of peasants and spent the last forty years of his life in rural France. Berger gazed upon the world in all its forms with composure and curiosity. 

David Marr shaped the field of computer vision in its early days. His seminal book laid the structure for interpreting images and one which is still largely followed. He popularised notions of the primal sketch and his work on edge detection led to one of the most sophisticated approaches. His work and influence continue to endure despite his early death: we missed and miss him a lot.

This is my list so I wanted to include this book that was so key to me. This is an art book, but it's a very math-y art book with very few illustrations and almost no how-to step-by-step illustrations. It has pages and pages of “to draw a line from 30 degrees above the horizon and 15 degrees to the left of center etc. etc. etc.” text. It's a dense read, but it was the book that solved six-point perspective for me, which was a topic I'd been working feverishly on for a solid year and couldn't quite nail on my own. It really opened up my understanding of perspective, especially curvilinear perspective drawing. I owe this book (and Flocon and Barre) a lot.