"...In her book, Live Nude Girl, Rooney raises the philosophical and personal concerns of posing for art, and makes a distinction between nudity and nakedness.
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'The first thirty seconds of nudity are always the most jarring, charged for me and for those who are looking at me, at least if it is a class or artist who has never seen me naked, never worked with me in the past. The disrobing is a gentle shock, a surprise, a kind of eyewash, and the instant is electrified, more vivid than those that preceded it and those that will come after. My nudity might seem unreal, as if it can't really be happening, as if this strange other person can't possibly be presenting herself without a stitch and letting her body be drawn. So too might my nudity feel hyper-real, as if this person is the most three-dimensional object in space, vulnerable in her nakedness, but powerful in her command of the entire room's studious and uninterrupted attention. But after these first few seconds, the flamboyance and the frisson seem to settle a bit, and the artists get down to the task at hand, which is not merely to gawk or to watch or to gaze, but to transmit from their eyes to the model, to their hands, to the page or the canvas or the clay the image they hope to render over the course of those three short hours.' ..."
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