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Less polemically, Nan Goldin, in her famous photographic series, The Ballad of Sexual Dependency, represents both the XX and XY sides of the chromosocial divide, heightening the ambiguity that gives way to real-life allegations of women's enablement of their assailants through the deep dependency keeping women attached to abusive men. Except that the men are now cast in criminal documentations (Chicago) and lascivious lampoons (Walker). Judy Chicago and Kara Walker break out of the women's interior view, and thereby disassociate themselves from the art and psychology of victimization, by visually narrating an exterior theater of rape closer to those made by men. Naturally there are exceptions to this formula. In so doing, the artists deflate the visions of virility marking representations of gratuitous rapes, specifically those masterpieces that Susan Brownmiller famously characterized as the tradition of "heroic rape"-those iconic sculptural and painted abductions of women that the larger public recognizes best in the masterpieces by Giovanni Bologna, Gianlorenzo Bernini, Nicolas Poussin, Peter Paul Rubens, and Titian. Together the women have elevated an art of ethics and empathy above aesthetics and dramatic tension as they turn the traditional and male representations of rape inside out to display, effigize, mimic, and analogize the ravaged and broken bodies that betray the real-life effects of rape. With image production no longer exclusively in the hands of men, the interior representations of rape and assault introduced with the art of Gentileschi, Kollwitz and Kahlo, and which emphasize the aftermath of rape, have since been expounded on by Suzanne Lacy, Ana Mendieta, Cindy Sherman, Nan Goldin, Kiki Smith, Sue Williams, and Janine Antoni. At least this is what our art-historical comparison of the heterosexual rape as represented by the male preference for theatrical action appears to testify.
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It does mean that if we are homosocially conditioned to value action and violence through repeated visual reinforcements, our ability to empathize with the victim depicted may be significantly diminished. This doesn't mean that an artist who chooses that we see the rape from an exterior view is sympathetic to the rapist. Perhaps more crudely yet accurately put, it's a matter of whether we wish to be made more intimate with the physical and psychological experience of the rapist or the rape victim. The difference between the exterior and the interior views of rape is a seemingly simple point of psychological and visual perspective, yet one that speaks of a profound estimation by the artists, their patrons and audiences, on whether to favor the representation of sexual violence as aesthetic and dramatic action, or as ethical and psychological empathy.
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(An abundance of Chinese paintings and Japanese ukiyo-e prints depict the rape of women and young men with expert craftmanship, but even the most noteworthy artistically are of an explicitly erotic character made for private pleasure, not public viewing or social commentary.) Most telling is that the depicitons made by men over the ages overwhelmingly portray the act of rape from an exterior point of view-as if it is performed in a theater that we look out onto to watch a climactic, narcissistic, even heroically idealized adventure of male self-realization in action. It tells us a great deal that the rape and abduction of historical or mythological subjects was a highly popular theme in Greek, Roman, and post-Renaissance Western European art. With historical art, unless we are furnished with documentation on how the art in question was received by its patrons and the public, we can only surmise how it was culturally valued by the frequency with which we find its subject commissioned and collected.