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

By Siri Hustvedt

Siri Hustvedt has regularly been desirous 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 full of life, lucid essays in a girl males taking a look at girls start to make a few feel of these plural views. Divided into 3 components, the 1st part, “A girl males Women,” investigates the perceptual and gender biases that impact how we pass judgement on paintings, literature, and the realm as a rule. one of the mythical figures thought of are Picasso, De Kooning, Jeff Koons, Louise Bourgeois, Anselm Kiefer, Susan Sontag, Robert Mapplethorpe, the Guerrilla women, 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 geographical regions, 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 problems and the mysteries of anxiety. Drawing on study in sociology, neurobiology, heritage, genetics, data, psychology, and psychiatry, this part additionally encompasses a profound and strong 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've got just a wobbly walkway, yet Hustvedt is inspired through the tourists making their method throughout it in either instructions. a girl taking a look at males ladies is an insightful account of the trips backward and forward.

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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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They are both women. B. was tiny in stature. Harry is enormous. The real artist and the invented artist are both interested in sexual blur, in undoing the hard lines between the feminine and the masculine. The ambiguous body appeals to them both. Bourgeois made a career of the mingled body, of penis and breast and buttocks and openings and bulbous protrusions that are neither one nor the other, not man, not woman. ” When Burden builds a work with her second “mask,” Phinny, she calls it The Suffocation Rooms.

Paper or plastic bills have no inherent worth: we simply agree that they do. The large orange dog may serve Anonymous as a gleaming talisman of his own wealth and power. When he looks at its reflective surface, he literally sees himself. (My assumption is that Anonymous is a man. ) Koons, who was a commodities broker on Wall Street for six years, is well versed in the fact that belief and rumor fuel speculation in the market and push prices skyward. In the art world, “buzz” and the media generated by it kick-start speculative buying.

In other words, we bring ourselves with our pasts to artworks, selves and pasts, which include not just our sensitivity and brilliance but our biases and blind spots as well. 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.

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