A Quote by Sarah Addison Allen

There was an art to the male posterior. That's all there was to it. — © Sarah Addison Allen
There was an art to the male posterior. That's all there was to it.
Visionary idealism is a male art form. The lesbian aesthete does not exist. But if there were one, she would have learned from the perverse male mind.
It's rare to see women in a film who are not somehow validated by a male or discussing a male or heartbroken by a male,or end up being happy because of a male. It's interesting to think about, and it's very true.
The best introduction by far to representation of the human figure in art. The Nude is a beautifully written work of sophisticated connoisseurship that analyzes art in its own terms rather than imposing strident, politicized categories on it. It outlines the major body types, male and female, in Western art and, via a wealth of illustrations, trains the reader's eye to detect and evaluate proportion. This book reveres art
What women represent to the male is, historically, a big burden. It's a lovely dream, but it's the stuff of literature, art, and everything. Living up to what the male psyche projects onto the female is the stuff of books. You'd need a lot more than an interview to go into it!
A woman's posterior is the key to my heart.
It's predominantly a male society, predominately a male culture, predominantly a male theatre, and predominantly male critics, but that's changing, definitely.
I started the film [Hostel Part II]with the girls in an art class and there's a nude male model. People think that women are objectified, well here you go! Here's a man being objectivized but now it's under the guise of art.
To put it boldly, it is the attempt at a posterior reconstruction of existence by the process of conceptualization.
The bonding of women that is woman-loving, or Gyn/affection, is very different from male bonding. Male bonding has been the glue of male dominance. It has been based upon recognition of the difference men see between themselves and women, and is a form of the behaviour, masculinity, that creates and maintains male power… Male comradeship/bonding depends upon energy drained from women.
Love is anterior to life, posterior to death, initial of creation, and the exponent of breath.
The male frog in mating season," said Crake, "makes as much noise as it can. The females are attracted to the male frog with the biggest, deepest voice because it suggests a more powerful frog, one with superior genes. Small male frogs—it's been documented—discover if they position themselves in empty drainpipes, the pipe acts as a voice amplifier and the small frog appears much larger than it really is." So?" So that's what art is for the artist, an empty drainpipe. An amplifier. A stab at getting laid.
I guess maybe my art can be said to be a protest. I see things a certain way, and as an artist I’m privileged in that arena to protest or say publicly what I’m thinking about. Maybe the strongest work I’ve done is because it was done with indignation. Considering myself as a feminist, I don’t want my work to be a reaction to what male art might be or what art with a capital A would be. I just want it to be art. In a convoluted way, I am protesting- protesting the usual way art is looked at, being shoved into a period or category.
A tendency for the male perspective to dominate responses to films, whether that's commissions or how a film is presented in the world. The market is used to a male voice and a male audience, which it feeds
Epistemic competence might be posterior to knowledge conceptually, however, while still prior metaphysically.
If you could kick the posterior of the person who has hurt you the most, ...you wouldn't be able to sit down for six weeks.
I have often been asked why I am so fond of playing male parts. As a matter of fact, it is not male parts, but male brains that I prefer.
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