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En I look at nude bodies all the time in my work. Art history is full of them – painted, sculpted and photographed – and they fill the walls of galleries and museums. I stand before them, projected on screens, as I lecture on the subject. Earlier in my career, I posed on the other side of the artist’s easel, as a life model, where I looked at artists looking at me. This dual perspective has given me a privileged position, as both subject and surveyor of the nude.
