By John Berger
Bento's Sketchbook is an exploration of the perform of drawing, in addition to a meditation on how we understand and search to discover our ever-changing dating with the realm round us.
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Additional resources for Bento's Sketchbook
And the point of this, I think, is that I learned that the only way to do a magazine—because this essentially was a magazine in a newspaper— is not to underestimate your audience, ever (which is one of the things that happens continually in food sections), and to follow your heart. That the only way to have a really good magazine is to print the things you want to read and assume that it will ﬁnd its own readership. And I truly believe that food is an important subject. When I came to The New York Times, they hired me because Bryan Miller decided he didn’t want to do restaurant reviews anymore.
That the only way to have a really good magazine is to print the things you want to read and assume that it will ﬁnd its own readership. And I truly believe that food is an important subject. When I came to The New York Times, they hired me because Bryan Miller decided he didn’t want to do restaurant reviews anymore. They asked me to come, and, once again, I said, “I am not going to review restaurants the way it’s been done before in this city. I’m not going to only review high-end restaurants.
The thing that actually made me say yes to him was when he said, “I’ve been looking for a gracious dinner party, but you’ve convinced me that I ought to be looking for more. ” Then I went back and thought about it. And my deal with The New York Times had been that when I got tired of doing restaurant criticism, I would become an editor there. And I thought, If you’re going to be an editor somewhere, wouldn’t you rather be an editor at a magazine where you have resources than at a newspaper where—I knew from my experience at the Los Angeles Times—you’re constantly begging people to do things for nothing?
Bento's Sketchbook by John Berger