100 books like Ways of Seeing

This is one of the most brilliant and important books I have ever read!

Way ahead of his time, Postman described the increasing and detrimental role of entertainment in every aspect of American life. His predictions have been realized beyond his wildest nightmares. 

Although not a book about advertising, it helped me understand that advertising has been a key player in the trivialization of American culture and the corruption of the way we think. I had the privilege of knowing Neil, which certainly added to my appreciation of his genius.

I can't recommend this book highly enough, and here's why: it completely shattered my misconceptions about originality in the creative process. Kleon's candid and approachable narrative made me realize that all art is, in some form, a reinterpretation or recombination of what already exists.

This book came into my life at a pivotal moment, just when I was grappling with the dreaded "impostor syndrome" and the paralyzing belief that everything I created needed to be unprecedented. Kleon's perspective is liberating. He argues that embracing influences and integrating them into your work is not only acceptable but essential for creativity. 

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.

Emotions and emotional intelligence (EQ) aren’t taught in business school, and are rarely evident in abundance in the corner offices of CEOs. And yet here’s one ready to admit to the errors of his earlier ways, and to have adjusted his leadership style at Best Buy accordingly. If it can happen in business, why not in politics, too, perhaps saving us from leaders who lack empathy.

As the legendary curator of photography at the Museum of Modern Art, John Szarkowski was instrumental in elevating photography’s stature to an equal among the fine arts. He is eloquent in his explanation about the meaning of photography and illuminating in his descriptions of each of the one hundred photographs published in this book from MoMA’s sterling collection of photographs. There is no better guide to an awakening of your own eye than Szarkowski.

As a photography critic for The New York Times, Grundberg was present when a generation of artists began to take apart the photographic image and transform its meaning in society. He wrote about post-modern practice in the present tense, as it was happening. This book is a collection of his reviews and essays from the 1980s when the medium was at a crossroads; the factual veracity of photography was enduring challenges at every turn and the valuation of the photograph as an art object was under critical scrutiny.

I tried to do something different with this list than the usual photography books people often cite, however, there is just no avoiding how important Robert Frank’s The Americans has been on the medium. In 1955, Frank departed for a two-year road trip to document the people of the United States, which coincided with the evolution of new post-war classes – namely, the working poor and those who would eventually become the beatniks of the ‘60s. Focusing on the racial and socio-geographic divide, Frank was a pioneer, as his work defiantly contradicted the popular romanticized propaganda of Life Magazine, opening the doors to the gritty documentary and street photography genres we know today.

Evidence, published in 1977, is a book of black-and-white pictures culled by these two artists from the archives of government agencies, public utilities, university laboratories, and private corporations. The anonymous photographs were made to document actual fires, land sites, crime scenes, product testing, and scientific experimentation. In Evidence, the pictures are removed from their context of origin and printed, one to a page, without caption information. Individually, the pictures take on surrealist properties subject to endless narrative interpretation; collectively, the sequencing creates a running narrative with no coherent story. Since the pictures so closely resemble the black-and-white documentary images that came to define art photography in the 1970s, Evidence was among the early postmodern works to contest the growing acceptance of photography as art, photographer as artist-author, photographic documentation as fact, and the truth-telling capability of the medium as unwavering.

If you have ever felt alienated by our capitalist society which tells us we do not deserve any sort of freedom or any sort of safety net, and which encourages us to use all of our time laboring and being “productive” – Jenny Odell’s book is for you.

I had already quit my job and started planning my road trip the week before How To Do Nothing came out, but if I hadn’t, I would have! The way Odell writes about paying attention to nature – she calls herself not a bird watcher but a “bird noticer” – has shaped the way I pay attention, too.

And Odell’s writing on “meeting the bioregion” of wherever you are, or learning about its plants, animals, and human history, was a direct influence on my book.

Although it is now a well-known fact that many actors are fighting for our online attention, and will do just about anything to get and keep it, Wu puts it all in historical perspective by going back to the 1800’s and the beginning of print advertising. 

He then traces our relationships with ads across a century and four screens: movies, television, home computers, and finally the cell phone. For the same reason that I enjoy reading history books to try to make some sense of the world’s current political chaos, this masterpiece by Wu should ensure you that nothing about human greed has changed in any major way: the tools of exploitation just get more powerful and more addictive.