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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, âHeart in the Woundâ 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 Kesslerâs interviews with survivors, that accompanies a slide show version of âHeart in the Wound.â Although Kessler ultimately envisions âHeart in the Woundâ 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
Public Culture – Duke University Press
Published: Oct 1, 2005
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