WACK!ART AND THE FEMINIST REVOLUTIONMARCH 4–JULY 16, 2007 THE GEFFEN CONTEMPORARY AT MOCA

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DURINg THE LATE 1960s AND EARLy ’70s, feminism fundamentally changed

contemporary art practice, critiquing its assumptions and radically altering its

structures and methodologies. WACK! Art and the Feminist Revolution is predicated

on the notion that gender was and remains fundamental to the organization of culture,

and that a contemporary understanding of the feminist in art must necessarily look to

the late 1960s and ‘70s. While the American feminist art movement coalesced in the

late 1960s in the United States and is embedded within the exhibition, this international

survey of 120 artists, activists, filmmakers, writers, teachers, and thinkers necessarily

moves beyond the now-canonical list of American feminist artists to include women

of other geographies, formal approaches, socio-political alliances, and critical and

theoretical positions. This exhibition argues for simultaneous feminisms internationally

that together and retrospectively can be viewed as the most influential movement in

postwar contemporary art.

The exclamatory title of the exhibition is intended to recall the bold idealism that

characterized the feminist movement during its second wave, as well as the acronyms

of activist groups that protested institutions of all kinds beginning in the late 1960s.

For many of the artists in WACK!, feminism often coexisted with political engagement

on other fronts such as race, class, and sexual orientation that, at times, superseded

feminism as the dominant discourse within which they preferred to situate their work.

Many artists’ imagery is explicitly feminist in its foregrounding of the body, personal

narrative, and biography. While some artists embraced a conceptual idiom, others

explored family histories and narratives of subjugation; still others worked abstractly

and obliquely exploring themes of gender. For artists working in cultural contexts

where there was no language of feminism or feminist art, their work can retrospectively

be read in feminist terms.

The themes that structure the exhibition and publication were imagined in various

ways. Some function historically while others are formally inspired, some according

to the ways that women artists organized in order to maximize the impact of the

statements they were trying to make. This brochure is intended as a guide, providing

one narrative through the exhibition and a tool for organizing the artwork you will see

and experience.

Magdalena Abakanowicz

Marina Abramović

Carla Accardi

Chantal Akerman

Helena Almeida

Sonia Andrade

Eleanor Antin

Judith F. Baca

Mary Bauermeister

Lynda Benglis

Berwick Street Film Collective

Camille Billops

Dara Birnbaum

Louise Bourgeois

Theresa Hak Kyung Cha

Judy Chicago

Lygia Clark

Tee Corinne

Sheila Levrant de Bretteville

Iole de Freitas

Niki de Saint Phalle,

Jean Tinguely, and

Per Olof Ultvedt

Jay DeFeo

Disband

Assia Djebar

Rita Donagh

Kirsten Dufour

Lili Dujourie

Mary Beth Edelson

Rose English

VALIE ExPORT

Jacqueline Fahey

Louise Fishman

Audrey Flack

Isa Genzken

Nancy Grossman

Barbara Hammer

Harmony Hammond

Margaret Harrison

Mary Heilmann

Lynn Hershman

Eva Hesse

Susan Hiller

Rebecca Horn

Alexis Hunter

Mako Idemitsu

Sanja Iveković

Joan Jonas

Kirsten Justesen

Mary Kelly

Joyce Kozloff

Friedl Kubelka

Shigeko Kubota

Yayoi Kusama

Suzanne Lacy

Suzy Lake

Ketty La Rocca

Maria Lassnig

Lesbian Art Project

Lee Lozano

Léa Lublin

Anna Maria Maiolino

Mónica Mayer

Ana Mendieta

Annette Messager

Marta Minujín and

Richard Squires

Nasreen Mohamedi

Linda M. Montano

Ree Morton

Laura Mulvey and Peter Wollen

Alice Neel

Senga Nengudi

Ann Newmarch

Lorraine O’Grady

Pauline Oliveros

Yoko Ono

ORLAN

Ulrike Ottinger

Gina Pane

Catalina Parra

Ewa Partum

Howardena Pindell

Adrian Piper

Sylvia Plimack Mangold

Sally Potter

Yvonne Rainer

Ursula Reuter Christiansen

Lis Rhodes

Faith Ringgold

Ulrike Rosenbach

Martha Rosler

Betye Saar

Miriam Schapiro

Mira Schendel

Carolee Schneemann

Joan Semmel

Bonnie Sherk

Cindy Sherman

Katharina Sieverding

Sylvia Sleigh

Alexis Smith

Barbara T. Smith

Mimi Smith

Joan Snyder

Valerie Solanas

Annegret Soltau

Nancy Spero

Spiderwoman Theater

Lisa Steele

Sturtevant

Cosey Fanni Tutti

Mierle Laderman Ukeles

Cecilia Vicuña

June Wayne

“Where We At”

Black Women Artists

Colette Whiten

Faith Wilding

Hannah Wilke

Francesca Woodman

Nil Yalter, Judy Blum, and

Nicole Croiset

Zarina

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or rereading of their own identities through mediated images of film, magazine

photographs, and fashion. Dara Birnbaum’s groundbreaking video works exist as

some of the earliest examples of media critique, and her Technology, Transformation:

Wonder Woman (1978–79) is still one of the most strikingly succinct examples of the

demystification of a popularly conceived icon of female empowerment. Margaret

Harrison’s exaggerated drawings of sexualized cartoon figures in hyper-masculine drag

claim a similarly humorous and critical tone through the conventional mode of stylized

figuration, while Adrian Piper’s biting Political Self-Portraits (1979–80) crystallize the

thematics of gender and race.

A number of themes explore the subversion or political deployment of traditional

crafts or methodologies. PATTERN AND ASSEMbLAgE loosely characterizes the

practice of Betye Saar, whose interrogation of African-American identity and history

takes the form of collages and boxes filled with found objects and relics of memory;

Fluxus artist Mary Bauermeister, who combines needlework and found objects to make

a poetic sculptural accumulation; and Mira Schendel, who worked in Brazil and used

language and paper as the materials for her delicate Droghuinas and Objetos Gráficos.

In delicate assemblages of hole-punch debris and other banal materials, Howardena

Pindell’s reductive abstract accumulations subtly comment on the problem of content

and cultural identity, whereas her video Free, White and 21 (1980) offers a harsh

critique of institutionalized racism in the art world. Nancy Grossman, who draws on her

family history in the garment industry to make powerful collages and sculptural busts

whose physicality speak of humanity and a kind of emasculating violence to the human

form.

The cutting, pasting, and recombination in Pattern and Assemblage often parallels

the strategies seen in bODy TRAUMA. Nancy Spero’s monumental drawing

Torture of Women (1976) is a searing protest against the violence and subjugation

of women across history. Annegret Soltau and Iole de Freitas use the metaphor of

cutting or binding to speak about the ways in which language and other cultural

constructs constrict female identity. Constraining the male body, Colette Whiten made

casting contraptions resembling instruments of torture to capture the male form. In

photographic series made when she was a student in Iowa, Ana Mendieta manipulates

and distorts her own naked body or uses it to shockingly restage the trauma of rape.

In TAPED AND MEASURED, many works employ a serial format as part of

a conceptual strategy of presentation. Rosler’s Vital Statistics of a Citizen, Simply

Obtained (1977) is a classic video work in which a woman is elaborately measured

by a team of scientists who exhaustively document and chart their research results.

Her monumental collage series Body Beautiful, or Beauty Knows No Pain (1966–72)

gODDESS is one of the most pervasive articulations of the feminine; artists working

from vastly different cultural referents have been empowered by ideas of earth,

mother, and Amazon and inspired by their iconography. Magdalena Abakanowicz’s

woven Abakan Red (1969) confronts the viewer with its mass and raw presence.

The performances of ORLAN as well as the video performances and installations of

Ulrike Rosenbach deploy representations of Amazon and Venus, and Ana Mendieta’s

Siluetas investigate the mythic status of the female body in its incarnations as virgin,

Madonna, and whore. Katharina Sieverding’s film Transformer (1973/74) interrogates

the viewer’s subconscious ideas about the power of the embodied woman. And

Niki de Saint Phalle’s sculpture Hon, realized only once at the Moderna Museet in

Stockholm in 1966, epitomizes the goddess rendered larger than life, containing within

her the institution of the museum. Lorraine O’Grady’s performances in the early 1980s

as Mademoiselle Bourgeoise Noire, dressed in a gown made of gloves, disrupted

openings at galleries and museums to call attention to issues of race and gender within

the art world.

gENDER PERFORMANCE groups works of film, photography, video, and

performance in which artists deconstruct the cultural construction of gender as a

category of identity. Rose English’s performances appropriate equestrian regalia

to investigate the hegemonic allocation of power. In elaborate performances with

choreographer and filmmaker Sally Potter, the two artists expanded performance

theater to include complex non-linear narratives of gender, power, and a gothic sense

of drama. Sanja Ivekovic, Suzy Lake, and Cindy Sherman engage in the transformation

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in self-conscious self-reflexivity, Sturtevant was an early practitioner of appropriation

and here animates and inhabits Marcel Duchamp’s Nude Descending the Staircase,

recreating it as performance. Jay DeFeo and Helena Almeida each explore the formal

characteristics of the camera as apparatus. DeFeo literally dressed her tripod and

created portraits of it, reversing and reflecting back its objectifying gaze. Almeida

photographs herself as she paints on glass, making her own expressive gestures the

subject of her work. Maria Lassnig makes deeply introspective self-portraits in paint

and film.

Working in the wake of postmodernist and post-structuralist literary theory, many

artists included in MAKINg ART HISTORy located the subject of history itself

as the battleground around issues of authorship and cultural permission. Mary Beth

Edelson’s collaged reconstructions of history paintings feminize the canon of art

history by asserting the identity of known and forgotten women artists as active

subjects in the composition. Alice Neel, though in her seventies during the decade of

primary activity of the women’s movement, made particularly provocative images of

pregnant and aging female bodies as well as portraits of many of the movement’s most

important figures. Also acting as court painter to the movement, Sylvia Sleigh made

large group representations of Artists in Residence and SoHo 20, the two most active

women’s cooperative galleries in New York at the time. Her renditions of the male nude

are equally important in their frank and anti-heroic portrayal of the male body. Both Léa

Lublin and June Wayne tackled the authorship of history through direct public address

and a kind of performative pedagogy. Lublin polled the public for answers to basic

questions about the construction of history, whereas Wayne, printmaker and founder

of Tamarind Lithography, acted as instigator in Los Angeles feminist circles to directly

confront institutional resistance at its doorstep.

SPEAKINg IN PUbLIC encompasses activist or conceptually based works through

which artists including Lynda Benglis, Cosey Fanni Tutti, Ann Newmarch, and Faith

Ringgold—as well as Valerie Solanas through her infamy as an activist, writer, and

outlaw—radically challenged existing modes of representation to frame discussions

of gender and/or race. While Newmarch utilized the ready circulation of print media to

broadcast powerful messages about women’s lives, Tutti infiltrated the porn industry

as a performer to subvert the medium’s power of subjugation. Similarly, Benglis made

a series of conceptually based interventions into art-magazine and advertising formats

using her own naked image as a provocation to her male peers and challenging

the arbiters of power within the art world. Ringgold responded to the politics of the

women’s movement as it related to the civil rights movement and the Vietnam War,

two critical social conditions of its formulation.

searingly juxtaposes mediated imagery of the female body with political commentary.

Collecting media images of women, Annette Messager’s provocative collection of

found imagery critiques the ways in which women’s lives are accounted for and

incrementalized through beauty rituals. Friedl Kubelka and Eleanor Antin use serial

photographs as a daily practice to document or literally graph the changes to their own

bodies both self-imposed and through the inevitable process of aging. Alexis Hunter

excerpts the hyper-masculinized bodies of men—bikers, truckers, and construction

workers—in a painting that presents them anonymously and monumentally. Kirsten

Justesen explores the cultural compartmentalization of the female body in a poignant

sculptural packaging of her own naked form.

AUTOPHOTOgRAPHy evidences the new sexual empowerment with which

artists scrutinized the media’s reductive representation of women’s bodies and identity,

critiquing notions of beauty and the sentient or aging body. Indeed, the camera was

often both tool and subject, as a new postmodern consciousness emerged about the

gaze and the location of power inherent in the photographed subject. Hannah Wilke’s

career-long engagement with her own photographed image is a poignant evolution of

subjectivity. Joan Semmel’s paintings replicate the gaze of the camera when the artist

turns the lens on her own and other female and male post-coital bodies. Also engaged

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sex scenarios intended for a heterosexual male audience. As the only Photorealist

painter among male colleagues who painted images of cars, machines, and the

urban environment, Audrey Flack turned inward towards “the feminine realm,” as she

described it. Jacqueline Fahey’s claustrophobic portraits of her domestic environment

are elaborately painted with an enervated eye and almost kitschy application of paint.

Constructed as part of the now legendary and monumental Womanhouse, in which

artists from the California Institute of the Arts (CalArts) Feminist Art Program took

over a house in Los Angeles, Faith Wilding’s Crocheted Environment (1972) is a netted

room of webbed string which both references craft and the repressive and confining

aspects of the domestic realm on women’s lives. Her performance Waiting (1972), a

ritualistic recitation of the events which historically have constructed women’s lives,

is tragic and touching in its simplicity. Susan Hiller’s 10 Months (1977–79) documents

her own pregnancy in photographs which abstract the ordeal and physical alteration

of a woman’s body. Martha Rosler’s Body Beautiful, or Beauty Knows No Pain series

comprises collages reminiscent of the work of Hannah Höch and is equally damning

regarding the ritualized torture of the beauty industry.

Among the most provocative groupings in this exhibition of primarily content-driven art

are those of AbSTRACTION and gENDERED SPACE. Benglis and Joan Snyder

co-opt the space of painting and the American legacy of Abstract Expressionist drip

paintings, while Shigeko Kubota critiques this legacy in a work that directly equates

the ejaculatory functions of the body with the excretory act of painting. From the

cultural perspectives of Brazil, India, Los Angeles, and Chile, Anna Maria Maiolino,

Zarina, Nasreen Mohamedi, Senga Nengudi, and Ceclia Vicuña each developed a new

and highly personal language of abstraction incorporating language and the body. Isa

Genzken, a resolute anti-formalist, began her career with long ellipsoid sculptures that

bisect space and speak of an embodied interiority. Interventions into architectonic

space are incorporated into the theme gENDERED SPACE. Mimi Smith’s delicate

wire mappings of domestic architectural detail and Eva Hesse’s architectonic Hang

Up (1966) simultaneously occupy the spaces of painting, sculpture, and architecture.

Louise Bourgeois, whose career-long production has dealt with themes of the body

and the architecture of memory, is represented here with forms that are biomorphic,

sexual, and resolutely formal. Mary Heilmann’s self-described interest in domestic

space and its abstraction informs these early paintings, which conflate her background

in ceramics with her eye towards gendering the strictures of architecture. Similarly

reacting to the confines of domestic architectural space, Sylvia Plimack Mangold made

intimate portraits of her home/studio, carefully tracing its floor, walls, and the residual

subject of daily life.

The related theme SILENCE AND NOISE highlights works that incorporate spoken

language, compositional sound experiments, and noise. The collective Disband made

performances that combined pithy spoken word with non-instrumental sounds and

addressed the gender politics of the moment. Similarly outspoken in terms of her

address to the audience was the composer and avant-garde musician Pauline Oliveros,

who worked with an all-female group of musicians and in 1970 composed To Valerie

Solanas and Marilyn Monroe, In Recognition of Their Desperation----. Ketty La Rocca

and Theresa Hak Kyung Cha used text and the deconstruction of language to explore

cultural identity and translation. Louise Fishman’s Angry Paintings (1973), made

during a departure from her abstract output, are a screaming invective silenced by

the historical constraints of the medium. Prior to swearing off all communication with

the art world, Lee Lozano made journal entries and conceptual projects that comprise

an ongoing diatribe against the hegemony of the New York art world. Rita Donagh

excerpts found textual or visual information from news photos to highlight and dignify

otherwise anonymous bits of marginal or politically charged information in the public

realm. In language-based video works, Sonia Andrade takes on issues of nationhood

and the politicization of the body in Brazil.

Other artists more pointedly critique the representation of the repressive aspects of

the domestic in FEMALE SENSIbILITy. In Benglis’s single-channel video Female

Sensibility (1973), two women in heavy makeup caress one another in extreme close-

up. Their exaggerated kisses reference pornography’s blatant woman-to-woman

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One of feminist art’s lasting legacies was a revolution in pedagogy and the teaching

of young women’s self-image as artists; KNOWLEDgE AS POWER represents

this major cultural shift. The West Coast was a center for such development at

programs like the Feminist Art Program and Women’s Design Program at CalArts

and the community-based mural project SPARC, initiated by Judith F. Baca to engage

Hispanic youth in the representation and memorialization of their own community.

Judy Chicago, Sheila Levrant de Brettville, and Miriam Schapiro began the programs

at CalArts, even as they continued individual art practices. Seen here, Chicago’s early

postminimalist imagery led to the ceramic portraits of women artists in her later work,

The Dinner Party (1974–79). Also honoring the matriarchal lineage in Chicano culture,

Baca and her collaborators painted larger-than-life women as inspirational figures for a

troubled community.

The body as subject—both the artist’s body and the sexual, lived, and performed

body—is central to much feminist production. bODy AS MEDIUM presents some

of the most provocative work in the exhibition. Primarily using video and performance,

Marina Abramovic, Carolee Schneemann, Joan Jonas, Lili Dujourie, Barbara T. Smith,

Gina Pane, Rebecca Horn, and VALIE EXPORT explore endurance, confront the

audience, and intentionally exploit the conditions of power located in the relationship of

audience to viewer.

LAbOR includes the often expansive, collective, or performative activities of the

Berwick Street Film Collective and Mierle Laderman Ukeles, whose film work and

public performance/intervention respectively highlighted and dignified the plight of

maintenance workers. Working in a very different industry educating women about

their health and bodies, Tee Corrine created the Cunt Coloring book which is both

prescient in its stark graphic style and typical of the frequent use of a direct, frank style.

Mary Kelly’s Post-Partum Document (1973–78) and Laura Mulvey and Peter Wollen’s

Riddles of the Sphinx (1976) deconstruct the labor of motherhood.

FAMILy STORIES is a grouping of practices that broadly embraced the feminist

rubric of the personal as political. While Ree Morton made whimsical celastic

sculptures using sources from her personal life—children’s games and women’s

folklore—Barbara Hammer’s portraits of lesbian intimacy are viewed from extreme

close-up, the artist often narrating her own sexual subjectivity in film. Often naïve and

strikingly simple, these film images were among the first to portray, in frank and sexual

terms, lesbian identity. The Lesbian Art Project abstracted narratives of lesbian lives in

performances which were touching and powerfully accessible.

COLLECTIVE IMPULSE and SOCIAL SCULPTURE feature strategies which

attempt to construct or disrupt models of community. The movement into the social

realm was undertaken in specific ways by women artists in the 1960s and ‘70s.

The brief but generative activities of Where We At “Black Women Artists,” the only

African-American collective of women artists; the public work Lygia Clark made with

her students in Paris at the end of her career; the work orchestrated by Nil Yalter

with Judy Blum and Nicole Croiset in a women’s prison; Mónica Mayer’s collective

installations in Mexico; and the theatrical performances of the Native-American

group Spiderwoman Theater all propose new models of community, one of the most

profoundly generative legacies of feminist practice on subsequent generations of

artists. SOCIAL SCULPTURE examines the move of many women artists into

the public realm and into a direct engagement with specific groups. Marta Minujín

constructed a “soft gallery” (1973) in which visitors can view performances and take

part in communal events. Bonnie Sherk built a working farm at a freeway intersection

in San Francisco. Suzanne Lacy documented the occurrence of prostitution with the

city of Los Angeles (1974), linking her practice with the social sculpture of Joseph

Beuys and deeply political impulse of Allan Kaprow’s Happenings. By inserting her

naked body into the public realm, Ewa Partum confronted the public with its own

expectations about gender and sexual decorum.

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Panel/gallery DiscussionsSunday, June 3, 2–6pmnational center for the preservation of democracy

Art, Feminism, and Psychoanalysis Panel discussion moderated by Thomas Brod, M.d., with panelists Carol Mayhew, Tamar Hoffs, Brandon French, and Esther Dreifuss-Kattan from 2–4:15pm.Gallery discussions led by psychoanalysts from the C.G. Jung Institute of Los Angeles, the New Center for Psychoanalysis, and the Institute of Contemporary Psychoanalysis from 4:30–6pm.INFO 213/621-1745 or education@moca.org

screeningThurSday, June 28, 7pmnational center for the preservation of democracy

(H)ERrata, Women + Art = Revolution!Screening of the rough cut of Lynn Hershman’s documentary about the feminist art movement. Q & a with the filmmaker following the screening. INFO 310/586-6488, ext. 32FREEPresented in collaboration with MOCa, JanM, and SMMoa.

Public + artist ProgramaPrIl 13–July 16, 2007the geffen contemporary at moca, gene & betye burton reading room

Suzanne Lacy’s Stories of Work and SurvivalPresenting experiences of survival, resilience, and hope from a diverse group of working women who will meet in conversational groups in the Gene & Betye Burton reading room at The Geffen Contemporary at MOCa. On april 13–17 and april 20–22, museum visitors are encouraged to witness participants as they converse. Beginning May 5, recorded conversations from these meetings will be available in the Gene & Betye Burton reading room. On June 16, the project will conclude with a dinner outside The Geffen Contemporary at MOCa.Seating for the dinner is limited; rSVP requiredINFO 213/621-1745 or education@moca.org

This project is presented by MOCa’s Public + artist Program in collabo-ration with the uCla department of World arts and Cultures, the uSC roski School of Fine arts, and Otis College of art and design.

Public + artist is sponsored by the department of Cultural affairs, City of los angeles.

guiDe by cell auDio toursMOCa offers a remarkable selection of cell phone audio tours, giving visitors the opportunity to hear directly from artists featured in the museum’s exhibitions. Many of the artists in WACK! Art and the Feminist Revolution—including Marina Abramovic, Judith F. Baca, Judy Chicago, Harmony Hammond, Lynn Hershman, Mary Kelly, Suzy Lake, Senga Nengudi, Martha Rosler, Alexis Smith, and Terry Wolverton have created inspiring personal accounts about feminism and their work. listen to the tours from your cell phone as you make your way through the galleries by calling 408/794-0842 and following the prompts, or visit moca.org/wack to download the audio files to your desktop or MP3 player.

wacksiteWACK! Art and the Feminist Revolution is accompanied by the WACKsite, a community-driven component of moca.org dedicated to enriching viewers’ understanding of the exhibition and its many supporting programs. utilizing the blog format, the WaCKsite is a collaborative environment for consciousness-raising and discussion. Members of the general public, artists, and authors are invited to participate in this discourse by posting responses to artworks and themes in the exhibition, and by sharing their reactions to the exhibition’s supporting programs. Visit the WaCKsite at moca.org/wack to take part in the discussion.

education programs at MOCa are supported by The James Irvine Foundation; the William randolph hearst endowment for education Programs; Jean and lewis Wolff and Family; the Weingart Foundation; The lura Gard newhouse Charitable lead Trust; the los angeles County Board of Supervisors through the los angeles County arts Commission; The Joseph B. Gould Fund for education; Wells Fargo Foundation; the department of Cultural affairs, City of los angeles; MCI; The Capital Group Companies; and david hockney.

RELATED EVENTS

moca art talks PresenteD by gallery c These informal discussions—featuring leading artists, curators, critics, writers, and other experts—are free with museum admission and open to the public. INFO 213/621-1745 or education@moca.org

Sunday, MarCh 4, 11am and 2pmthe geffen contemporary at moca

Walks Through the RevolutionJennifer Doyle and Catherine Lord, moderators

Sunday, MarCh 11, 11am–5pmthe geffen contemporary at moca

Wait-with, a performance by Faith Wilding, artist

ThurSday, MarCh 22, 6:30pm the geffen contemporary at moca

Lorraine O’Grady, artist

Sunday, aPrIl 29, 3pmthe geffen contemporary at moca

Terry Wolverton, artist/member, lesbian art Project

ThurSday, May 24, 6:30pmthe geffen contemporary at moca

Connie Butler, exhibition curator

MOCa art Talks Presented by Gallery C is made possible by The Times Mirror Foundation endowment and Gallery C.

teens oF contemPorary art (toca) Want to learn more about contemporary art with other teens? Join us the second Sunday of every month for exhibition explorations, art workshops, discussions, and special events. Snacks provided.INFO 213/633-5310 or dgray@moca.orgFREE; no reservations required

Sunday, MarCh 11, 3–5pmthe geffen contemporary at moca

Be heard and hear others in this discussion of feminism and art with a guided exhibition tour.

Teens of Contemporary art is made possible by the Joseph drown Foundation.

the ralPh tornberg/museum Director’s DistinguisheD lecture serieslooking at the legacies and potentials of feminism in relation to WACK! Art and the Feminist Revolution, the Tornberg series investigates how feminist thinking on all levels—social, artistic, political, psychological, and theoretical—is important in our cultural life. advance tickets required; no refundsTICKET INFO moca.org/wack

Sunday, aPrIl 1, 2pmpacific design center, silverscreen theater

Lucy Lippard, cultural critic, theorist, author, and political activist

Sunday, aPrIl 15, 2pmpacific design center, silverscreen theater

Linda Nochlin, author, art historian, and professor of Modern art at new york university’s Institute of Fine arts

Sunday, May 20, 2pmpacific design center, silverscreen theater

Griselda Pollock, feminist art historian and cultural analyst

Sunday, June 10, 2pmcolburn school, herbert zipper concert hall Angela Davis, student, teacher, writer, scholar, and activist/organizer

The ralph Tornberg/Museum director’s distinguished lecture Series is made possible by the generous support of The ralph Tornberg Trust.

lectureThurSday, MarCh 29, 7pm moca grand avenue, ahmanson auditorium

Visual Culture, Race, and Globalization: Is Feminism Still Relevant?a conversation with Jennifer Doyle (uC riverside), Judith Halberstam (uSC), Phyllis J. Jackson (Pomona College), Amelia Jones (university of Manchester), and Yong Soon Min (uC Irvine). Moderated and organized by Jennifer doyle and Judith halberstam.INFO 213/740-1739 or usc.edu/dept/cfrFREE

WACK! Art and the Feminist Revolution is made possible by the Annenberg Foundation.

Additional generous support is provided by Geraldine and Harold Alden; The Andy Warhol Foundation for the Visual Arts; the National Endowment for the Arts; The Peter Norton Family Foundation; Audrey M. Irmas; The Jamie and Steve Tisch Foundation; The MOCA Contemporaries; Wells Fargo Foundation;  The Broad Art Foundation; Vivian and Hans Buehler; the Barbara Lee Family Foundation Donor Advised Fund at the Boston Foundation; Étant donnés:  The French-American Fund for Contemporary Art; the Robert Lehman Foundation; Institut für Auslandsbeziehungen e. V., Stuttgart; the Pasadena Art Alliance; Frances Dittmer Family Foundation; the Hugh M. Hefner Foundation; Peg Yorkin; Merrill Lynch; the Fifth Floor Foundation; The Cowles Charitable Trust; Rosette V. Delug; The Herringer Family Foundation; and the Polish Cultural Institute.

Major support is also provided by Susan Bay Nimoy and Leonard Nimoy with the members of the WACK! Women’s Consortium.

This exhibition is presented as part of the Millennium on View program. The Millennium Biltmore Hotel is MOCA’s Official Hotel Sponsor. 89.9 KCRW is the Official Media Sponsor of MOCA. Generous in-kind support is provided by MySpace. 

Katharina Sieverding, Transformer, 1973/74, © Katharina Sieverding, photo © Klaus Mettig, VG Bild-Kunst; Kirsten Justesen, Sculpture 11, 1969, painted cardboard box and photograph, 19 11/16 x 23 5/8 x 23 5/8 in., courtesy of Statens Museum for Kunst, Copenhagen, courtesy of the artist, © artists rights Society (arS), new york/COPy-dan, Copenhagen; Installation view of WACK! Art and the Feminist Revolution at The Geffen Contemporary at MOCa, 2007, photo by Brian Forrest; Installation view of Senga nengudi, I, 1977; Carla accardi, Rotoli, 1966–72; and Jacqueline Fahey, Sisters Communing, 1974, in WACK! Art and the Feminist Revolution at The Geffen Contemporary at MOCa, 2007, photo by Brian Forrest; Berwick Street Film Collective, still from Nightcleaners, 1970–75, film, courtesy of luX

THE GEFFEN CONTEMPORARY AT MOCA 152 n. CenTral aVe., dOWnTOWn l.a. INFO 213/626-6222 tdd 213/621-1651 moca.org

MOCA THE MuSEuM OF CONTEMPORARY ART, LOS ANGELES

ART AND THE FEMINIST REVOLUTIONWACK!