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By Siri Hustvedt

Siri Hustvedt has constantly been fascinated with biology and the way human belief works. She is a lover of paintings, the arts, and the sciences. She is a novelist and a feminist. Her full of life, lucid essays in a girl males taking a look at girls start to make a few experience of these plural views. Divided into 3 elements, the 1st part, “A girl males taking a look at Women,” investigates the perceptual and gender biases that have an effect on how we pass judgement on artwork, literature, and the realm typically. 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, displaying 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 study in sociology, neurobiology, heritage, genetics, facts, psychology, and psychiatry, this part additionally features a profound and strong attention of suicide. there was a lot speak about construction a gorgeous bridge around the chasm that separates the sciences and the arts. in the interim, we've just a wobbly walkway, yet Hustvedt is inspired by way of the tourists making their approach throughout it in either instructions. a girl males girls is an insightful account of the trips backward and forward.

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

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There is one red tulip in the exhibition—as punctuation: a red period to mark the end. The two men have very different aesthetics. You could almost say one is Apollonian and the other Dionysian. Mapplethorpe insists on boundaries, on frozen and discrete visual entities, a disciplined beauty of limits. He presents his masculine objects as hard, muscular, macho ideals. The names assigned to some of the images (Ken Moody, for 50 example) are ironically superfluous because these pictures are anonymous celebrations of the male form.

She’s covered in a hooded cloak. 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.

The objective qualities of a work—for example, Cell (Eyes and Mirrors), made of marble, mirrors, steel, and glass—come to life in the viewer’s eyes, but that vision is also a form of memory, of well-established perceptual habits. There is no perception without memory. But good art surprises us. Good art reorients our expectations, forces us to break the pattern, to see in a new way. I have further insisted that we do not treat artworks the way we treat forks or chairs. As soon as a fork or chair or mirror is imported into a work of art, it is qualitatively different from the fork in your drawer or the chair in your living room or the mirror in your bathroom because it carries the traces of a living consciousness and unconsciousness, and it is invested with that being’s vitality.

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