#1 Rape for Art
Posted: Thu Oct 15, 2009 11:59 am
http://www.artlurker.com/2009/09/the-ra ... la-zareno/
[quote]THE RAPE TUNNEL By Sheila Zareno
1
The Rape Tunnel being fabricated in Richard Whitehurst’s Columbus studio.
Richard Whitehurst is a Columbus-based artist who made his mark on the Ohio scene by showing at the William Strunk Jr. Museum of Contemporary Art in Akron and internationally regarded galleries such as Alexandria Asheton Gallery and Seward Projects Space. He was the 2006 recipient of an Akron Culture Committee fellowship and has quickly become a seminal figure in the often overshadowed Rustbelt regional art scene, rapidly moving from sculpture and installation to more challenging situational based work that would make Nicolas Bourriaud’s head spin.
In fact, his new controversial work, THE RAPE TUNNEL, which is set to go on view at Columbus’ 4D Gallery on October 30th, has come under fire from Columbus-based feminist groups not to mention, local law enforcement officials. The artist plans to place himself in a room, the only entrance or exit being a 22 ft long plywood tunnel constructed by Whitehurst himself. Then he says that for the duration of the gallery’s opening (from 7:00 p.m. to midnight) he will rape anyone who travels through the tunnel into that room.
On a recent trip to Ohio, nearly all art-related conversation stirred wildly around Whitehurst and his tunnel, with half the people hailing him a vastly important figure to keep an eye out for, while others regarding his work as cheap and exploitative – not to mention very dangerous.
We’ll let you readers decide. The following interview was conducted on September 22nd via e-mail correspondence.
Please describe the project.
In the 4D Gallery main room, I’ve constructed a 22 ft tunnel out of plywood that leads into the project room. There is no way in or out of the project room except for this tunnel. As you travel through the tunnel, it gets smaller and smaller, making it so that you have to crawl and put yourself in a submissive position in order to reach the tunnel’s destination. At the end of the tunnel the subject will find me waiting in the project room and I’ll try to the best of my ability to overpower and rape the person who crawls through.
Why rape?
Because as an artistic gesture, it’s one of the most impactful I can think of. For the past ten years Ohio’s art scene has been largely centered around a string of alternative spaces in Akron’s warehouse district, where people had been putting on art shows. At the beginning I happily participated along with everyone else but then I started to feel like it wasn’t going anywhere. It dawned on me that if the work we created had never existed the world would be no different than if it had. None of it mattered to anyone outside of our small and insignificant circle of peers. I wanted something that would have more impact.
I started to think differently about my work. In 2007 at the Seward Projects Space in Columbus, I had my first breakthrough with an installation that was to be the prototype for this current one. It was called THE PUNCH-YOU-IN-THE-FACE TUNNEL. It was the same set-up as THE RAPE TUNNEL except at the end of the tunnel I’d punch the subject in the face instead of raping him or her. The impetus was completely reactionary to the current state of art, and motivated by pure frustration.
As it turns out, I ended up breaking the nose of the third person to crawl through the tunnel, an aspiring model. She went to the hospital and eventually sued me. Her modeling career was put on hold. The civil case was long and drawn out and the matter still hasn’t been resolved. To this day she still has unpaid medical bills. The point of this long aside is that all this took place two years ago, and I’m still having an impact on this young lady’s life, something not many other artists could claim about their work.
Rape seemed like the next logical step.
2
Richard Whitehurst.
But rape is way more extreme than a punch to the face. Is your intention to ruin people’s lives?
Possibly. I’m not necessarily concerned with the positive or negative effects of this project so long as there is some effect on people’s lives. I’ve merely set up a situation where there is potential to impact people in meaningful ways. Maybe I won’t be able to rape everyone who crawls through the tunnel, but the door is open for all kinds of scenarios; rape, serious injury, maybe even death. I might even get arrested.
Right now the installation isn’t even complete, and I’ve riled up a substantial portion of the local population. The installation as an idea is powerful enough itself.
By “substantial portion of the local populationâ€
[quote]THE RAPE TUNNEL By Sheila Zareno
1
The Rape Tunnel being fabricated in Richard Whitehurst’s Columbus studio.
Richard Whitehurst is a Columbus-based artist who made his mark on the Ohio scene by showing at the William Strunk Jr. Museum of Contemporary Art in Akron and internationally regarded galleries such as Alexandria Asheton Gallery and Seward Projects Space. He was the 2006 recipient of an Akron Culture Committee fellowship and has quickly become a seminal figure in the often overshadowed Rustbelt regional art scene, rapidly moving from sculpture and installation to more challenging situational based work that would make Nicolas Bourriaud’s head spin.
In fact, his new controversial work, THE RAPE TUNNEL, which is set to go on view at Columbus’ 4D Gallery on October 30th, has come under fire from Columbus-based feminist groups not to mention, local law enforcement officials. The artist plans to place himself in a room, the only entrance or exit being a 22 ft long plywood tunnel constructed by Whitehurst himself. Then he says that for the duration of the gallery’s opening (from 7:00 p.m. to midnight) he will rape anyone who travels through the tunnel into that room.
On a recent trip to Ohio, nearly all art-related conversation stirred wildly around Whitehurst and his tunnel, with half the people hailing him a vastly important figure to keep an eye out for, while others regarding his work as cheap and exploitative – not to mention very dangerous.
We’ll let you readers decide. The following interview was conducted on September 22nd via e-mail correspondence.
Please describe the project.
In the 4D Gallery main room, I’ve constructed a 22 ft tunnel out of plywood that leads into the project room. There is no way in or out of the project room except for this tunnel. As you travel through the tunnel, it gets smaller and smaller, making it so that you have to crawl and put yourself in a submissive position in order to reach the tunnel’s destination. At the end of the tunnel the subject will find me waiting in the project room and I’ll try to the best of my ability to overpower and rape the person who crawls through.
Why rape?
Because as an artistic gesture, it’s one of the most impactful I can think of. For the past ten years Ohio’s art scene has been largely centered around a string of alternative spaces in Akron’s warehouse district, where people had been putting on art shows. At the beginning I happily participated along with everyone else but then I started to feel like it wasn’t going anywhere. It dawned on me that if the work we created had never existed the world would be no different than if it had. None of it mattered to anyone outside of our small and insignificant circle of peers. I wanted something that would have more impact.
I started to think differently about my work. In 2007 at the Seward Projects Space in Columbus, I had my first breakthrough with an installation that was to be the prototype for this current one. It was called THE PUNCH-YOU-IN-THE-FACE TUNNEL. It was the same set-up as THE RAPE TUNNEL except at the end of the tunnel I’d punch the subject in the face instead of raping him or her. The impetus was completely reactionary to the current state of art, and motivated by pure frustration.
As it turns out, I ended up breaking the nose of the third person to crawl through the tunnel, an aspiring model. She went to the hospital and eventually sued me. Her modeling career was put on hold. The civil case was long and drawn out and the matter still hasn’t been resolved. To this day she still has unpaid medical bills. The point of this long aside is that all this took place two years ago, and I’m still having an impact on this young lady’s life, something not many other artists could claim about their work.
Rape seemed like the next logical step.
2
Richard Whitehurst.
But rape is way more extreme than a punch to the face. Is your intention to ruin people’s lives?
Possibly. I’m not necessarily concerned with the positive or negative effects of this project so long as there is some effect on people’s lives. I’ve merely set up a situation where there is potential to impact people in meaningful ways. Maybe I won’t be able to rape everyone who crawls through the tunnel, but the door is open for all kinds of scenarios; rape, serious injury, maybe even death. I might even get arrested.
Right now the installation isn’t even complete, and I’ve riled up a substantial portion of the local population. The installation as an idea is powerful enough itself.
By “substantial portion of the local populationâ€
