Abstract
Issues pertaining to sexual abuse in relation to art have been foregrounded by the
recent global moral reckoning effected by the #MeToo movement. As a consequence,
an increasing number of exhibitions are addressing sexual violence. In some
instances, rape forms the primary subject of the curatorial presentation, whereas
others acknowledge problematic artworks or artists. However, as historic examples
and studies to draw from are scarce, curators have been forced to explore and
experiment with new strategies when curating artworks that are engaged with sexual
violence.
In this study, I investigate some of the strategies curators have deployed in directing
viewers to issues around rape. By analysing exhibitions presented to audiences
between 2014 and 2021, I show how curators have approached problematic historic
portrayals of rape, images of pain created by women artists, and participatory
exhibitions that avoid explicit imaging, as well as exhibitions by artists accused of
being sexual predators. My study asserts the importance of thinking beyond the
boundaries of artworks to consider the contexts that can be created in which such
works can be viewed.
Taking account of the sensitive nature of the theme as well as the persistent damaging
myths about this form of violence, my study reveals numerous imperatives that must
be taken into account in the curating of an exhibition on this subject. These include
the significance of partnering with advocacy organisations and the value of preparing
for controversy. I argue for the constructing of safe and meaningful spaces in which
viewers can engage with the complex issues around sexual violence. Additionally, I
advocate various strategies that can be observed to frame such exhibitions with
sensitivity, informed by an awareness of the possibility of wounding and re-wounding
viewers.