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"Heart in the Wound"

"Heart in the Wound" not be achieved simply by settling lawsuits or removing (and shaming) priests, however important these actions might be. The wounds of sexual abuse, which tear apart both families and institutions, such as the church, that are like families, call for forms of emotional justice that have not yet been created. In its creative approaches to both documentation and exhibition, “Heart in the Wound” imagines the s that might do this work. The following interview took place by telephone and e-mail in spring 2004, after Vanessa Haney, the former art editor of , suggested that Lisa Kessler and I collaborate on this essay. The images included here are a small selection from a much larger body of work that Kessler showed me, and we worked together to select the images for this publication. I also listened to the audiotape, compiled from Kessler’s interviews with survivors, that accompanies a slide show version of “Heart in the Wound.” Although Kessler ultimately envisions “Heart in the Wound” as an installation that would include prints of the photographs, the slide show, the audiotape, and a forum for comments by viewers, the project is adaptable to many forms and occasions (such as the version http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Public Culture Duke University Press

"Heart in the Wound"

Public Culture , Volume 17 (3) – Oct 1, 2005

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Publisher
Duke University Press
Copyright
Copyright 2005 by Duke University Press
ISSN
0899-2363
eISSN
1527-8018
DOI
10.1215/08992363-17-3-499
Publisher site
See Article on Publisher Site

Abstract

not be achieved simply by settling lawsuits or removing (and shaming) priests, however important these actions might be. The wounds of sexual abuse, which tear apart both families and institutions, such as the church, that are like families, call for forms of emotional justice that have not yet been created. In its creative approaches to both documentation and exhibition, “Heart in the Wound” imagines the s that might do this work. The following interview took place by telephone and e-mail in spring 2004, after Vanessa Haney, the former art editor of , suggested that Lisa Kessler and I collaborate on this essay. The images included here are a small selection from a much larger body of work that Kessler showed me, and we worked together to select the images for this publication. I also listened to the audiotape, compiled from Kessler’s interviews with survivors, that accompanies a slide show version of “Heart in the Wound.” Although Kessler ultimately envisions “Heart in the Wound” as an installation that would include prints of the photographs, the slide show, the audiotape, and a forum for comments by viewers, the project is adaptable to many forms and occasions (such as the version

Journal

Public CultureDuke University Press

Published: Oct 1, 2005

There are no references for this article.