A Woman Looking at Men Looking at Women: Essays on Art, Sex, by Siri Hustvedt

By Siri Hustvedt

Siri Hustvedt has continually been enthusiastic about biology and the way human conception works. She is a lover of paintings, the arts, and the sciences. She is a novelist and a feminist. Her energetic, lucid essays in a girl taking a look at males taking a look at girls start to make a few experience of these plural views. Divided into 3 components, the 1st part, “A girl males Women,” investigates the perceptual and gender biases that have an effect on how we pass judgement on artwork, literature, and the area mostly. one of the mythical figures thought of are Picasso, De Kooning, Jeff Koons, Louise Bourgeois, Anselm Kiefer, Susan Sontag, Robert Mapplethorpe, the Guerrilla ladies, and Karl Ove Knausgaard. the second one half, “The Delusions of Certainty,” is ready the age-old mind/body challenge that has haunted Western philosophy because the Greeks. Hustvedt explains the connection among the psychological and the actual nation-states, exhibiting what lies past the argument—desire, trust, and the mind's eye. the ultimate part, “What Are We? Lectures at the Human Condition,” discusses neurological issues and the mysteries of anxiety. Drawing on learn in sociology, neurobiology, background, genetics, information, psychology, and psychiatry, this part additionally features a profound and robust attention of suicide. there was a lot discuss construction a gorgeous bridge around the chasm that separates the sciences and the arts. in the intervening time, we now have just a wobbly walkway, yet Hustvedt is inspired via the tourists making their manner throughout it in either instructions. a lady taking a look at males ladies is an insightful account of the trips from side to side.

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Extra resources for A Woman Looking at Men Looking at Women: Essays on Art, Sex, and the Mind

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I will confess at the outset of this essay that if I had many millions of dollars to spend, I would buy art, including work by living artists (both famous and obscure), but I wouldn’t purchase a Koons, not because the work has no interest for me—it does—but because I don’t think I would want to live with his art. The experience of art is always a dynamic relation between the viewer and the thing seen. My dialogue with Koons’s work is not lively enough to sustain a long relationship. Anonymous, however, for reasons we cannot know and can only guess at, felt the money was well spent.

And she’s holding a ball. The photo evokes monks, sorcerers, magic, and the standard image of death as a hooded, faceless figure. 17. May I say that Almodóvar is dense and complex, that his art is about proliferation, while Mapplethorpe reduces and simplifies? Is this accurate? 18. Yes. 51 19. The most important photo to the logic of the exhibition is the first one—the mask-like self-portrait Mapplethorpe made of himself that reveals only his eyes. The rest of his face is missing. What counts, after all, in what is to follow is a personal vision, the way the artist sees.

Although one can feel the ferocious rigor of her choreographic vision, one does not come away with a message or story that can be explicated. One cannot encapsulate in words what one has seen. Rather, her work generates multiple and often ambiguous meanings, which, for a viewer like me, is precisely what constitutes the extraordinary strength of her choreography. An artist’s later acclaim often dims our memory of earlier controversy, so it is helpful to recall that Bausch’s debut in the United States in 1984 was met with confusion, even opprobrium.

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