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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on other fronts such as race, class, and sexual orientation that, at times, superseded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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Installation view
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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 [email protected]
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 [email protected]
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 [email protected]
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 [email protected]; 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!