WACK!

ART AND THE FEMINIST REVOLUTION

MARCH4JULY 16, 2007 THE GEFFEN CONTEMPORARY AT MOCA

Magdalena Abakanowicz Marina Abramovi 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

Eva Hesse Susan Hiller Rebecca Horn Alexis Hunter Mako Idemitsu Sanja Ivekovi 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 La Lublin Anna Maria Maiolino Mnica Mayer Ana Mendieta Annette Messager Marta Minujn and Richard Squires Nasreen Mohamedi Linda M. Montano Ree Morton Laura Mulvey and Peter Wollen Alice Neel Senga Nengudi Ann Newmarch Lorraine OGrady Pauline Oliveros Yoko Ono
ORLAN

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 Vicua June Wayne Where We At Black Women Artists Colette Whiten Faith Wilding Hannah Wilke Francesca Woodman Nil Yalter, Judy Blum, and Nicole Croiset Zarina

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.

Jacqueline Fahey Louise Fishman Audrey Flack Isa Genzken Nancy Grossman Barbara Hammer Harmony Hammond Margaret Harrison Mary Heilmann Lynn Hershman

Ulrike Ottinger Gina Pane Catalina Parra Ewa Partum Howardena Pindell

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

or rereading of their own identities through mediated images of film, magazine photographs, and fashion. Dara Birnbaums groundbreaking video works exist as some of the earliest examples of media critique, and her Technology, Transformation: Wonder Woman (197879) is still one of the most strikingly succinct examples of the demystification of a popularly conceived icon of female empowerment. Margaret Harrisons 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 Pipers biting Political Self-Portraits (197980) 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 Grficos. In delicate assemblages of hole-punch debris and other banal materials, Howardena Pindells 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 Speros 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

from vastly different cultural referents have been empowered by ideas of earth, mother, and Amazon and inspired by their iconography. Magdalena Abakanowiczs 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 Mendietas Siluetas investigate the mythic status of the female body in its incarnations as virgin, Madonna, and whore. Katharina Sieverdings film Transformer (1973/74) interrogates the viewers subconscious ideas about the power of the embodied woman. And Niki de Saint Phalles 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 OGradys 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 Englishs 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 Ivekovi c, Suzy Lake, and Cindy Sherman engage in the transformation

Katharina Sieverding, Transformer, 1973/74

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. Roslers 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 (196672)
 

searingly juxtaposes mediated imagery of the female body with political commentary. Collecting media images of women, Annette Messagers provocative collection of found imagery critiques the ways in which womens 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 menbikers, truckers, and construction workersin 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

in self-conscious self-reflexivity, Sturtevant was an early practitioner of appropriation and here animates and inhabits Marcel Duchamps 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 Edelsons 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 womens movement, made particularly provocative images of pregnant and aging female bodies as well as portraits of many of the movements 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 womens 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 La 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

artists scrutinized the medias reductive representation of womens 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 Wilkes career-long engagement with her own photographed image is a poignant evolution of subjectivity. Joan Semmels 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

which artists including Lynda Benglis, Cosey Fanni Tutti, Ann Newmarch, and Faith Ringgoldas well as Valerie Solanas through her infamy as an activist, writer, and outlawradically 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 womens lives, Tutti infiltrated the porn industry
Kirsten Justesen, Sculpture 11, 1969

as a performer to subvert the mediums 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 womens movement as it related to the civil rights movement and the Vietnam War, two critical social conditions of its formulation.

Installation view

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 Fishmans 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.

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 Faheys 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 Wildings 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 womens lives. Her performance Waiting (1972), a ritualistic recitation of the events which historically have constructed womens lives, is tragic and touching in its simplicity. Susan Hillers 10 Months (197779) documents her own pregnancy in photographs which abstract the ordeal and physical alteration of a womans body. Martha Roslers Body Beautiful, or Beauty Knows No Pain series comprises collages reminiscent of the work of Hannah Hch 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

Other artists more pointedly critique the representation of the repressive aspects of the domestic in Female SensiBilitY. In Bengliss single-channel video Female Sensibility (1973), two women in heavy makeup caress one another in extreme closeup. Their exaggerated kisses reference pornographys blatant woman-to-woman

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 Vicua 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 Smiths delicate wire mappings of domestic architectural detail and Eva Hesses 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 Heilmanns 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.

Installation view

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Collective Impulse and Social Sculpture feature strategies which

One of feminist arts lasting legacies was a revolution in pedagogy and the teaching of young womens 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 Womens 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, Chicagos early postminimalist imagery led to the ceramic portraits of women artists in her later work, The Dinner Party (197479). 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 subjectboth the artists body and the sexual, lived, and performed bodyis central to much feminist production. BodY as Medium presents some of the most provocative work in the exhibition. Primarily using video and performance, Marina Abramovi c, 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

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 womens prison; Mnica Mayers 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 Minujn 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 Kaprows Happenings. By inserting her naked body into the public realm, Ewa Partum confronted the public with its own expectations about gender and sexual decorum.

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 Kellys Post-Partum Document (197378) and Laura Mulvey and Peter Wollens
Berwick Street Film Collective, still from Nightcleaners, 197075

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 lifechildrens games and womens folkloreBarbara Hammers portraits of lesbian intimacy are viewed from extreme close-up, the artist often narrating her own sexual subjectivity in film. Often nave 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.

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RELATED EVENTS
MOCA ART TALKS PRESENTED BY GALLERY C These informal discussionsfeaturing leading artists, curators, critics, writers, and other expertsare free with museum admission and open to the public. INFO 213/621-1745 or education@moca.org Sunday, March 4, 11am and 2pm
the geffen contemporary at moca

The Ralph Tornberg/Museum Directors Distinguished Lecture Series Looking 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 levelssocial, artistic, political, psychological, and theoreticalis important in our cultural life. Advance tickets required; no refunds TICKET INFO moca.org/wack Sunday, April 1, 2pm pacific design center, silverscreen theater Lucy Lippard, cultural critic, theorist, author, and political activist Sunday, April 15, 2pm pacific design center, silverscreen theater Linda Nochlin, author, art historian, and professor of Modern Art at New York Universitys Institute of Fine Arts Sunday, May 20, 2pm pacific design center, silverscreen theater Griselda Pollock, feminist art historian and cultural analyst
colburn school, herbert zipper concert hall

Panel/gallery Discussions Sunday, June 3, 26pm

national center for the preservation of democracy

Walks Through the Revolution Jennifer Doyle and Catherine Lord, moderators Sunday, March 11, 11am5pm
the geffen contemporary at moca

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 24:15pm. 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 4:306pm. INFO 213/621-1745 or education@moca.org screening Thursday, June 28, 7pm
national center for the preservation of democracy

Wait-with, a performance by Faith Wilding, artist Thursday, March 22, 6:30pm

the geffen contemporary at moca

Guide by Cell Audio Tours MOCA offers a remarkable selection of cell phone audio tours, giving visitors the opportunity to hear directly from artists featured in the museums exhibitions. Many of the artists in WACK! Art and the Feminist Revolutionincluding Marina Abramovi c, 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. wacksite WACK! 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 exhibitions 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.

Lorraine OGrady, artist Sunday, April 29, 3pm

the geffen contemporary at moca

Terry Wolverton, artist/member, Lesbian Art Project Thursday, May 24, 6:30pm
the geffen contemporary at moca

(H)ERrata, Women + Art = Revolution! Screening of the rough cut of Lynn Hershmans documentary about the feminist art movement. Q & A with the filmmaker following the screening. INFO 310/586-6488, ext. 32 FREE
Presented in collaboration with MOCA, JANM, and SMMoA.

Sunday, June 10, 2pm

Connie Butler, exhibition curator

MOCA Art Talks Presented by Gallery C is made possible by The Times Mirror Foundation Endowment and Gallery C.

Angela Davis, student, teacher, writer, scholar, and activist/organizer

The Ralph Tornberg/Museum Directors Distinguished Lecture Series is made possible by the generous support of The Ralph Tornberg Trust.

public + artist program april 13JULY 16, 2007 the geffen contemporary at moca,
gene & betye burton reading room

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.org FREE; no reservations required SUNDAY, MARCH 11, 35pm
the 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.

lecture Thursday, 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/cfr FREE

Suzanne Lacys Stories of Work and Survival Presenting 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 1317 and April 2022, 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 required INFO 213/621-1745 or education@moca.org
This project is presented by MOCAs Public + Artist Program in collaboration 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.

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MOCA The museum of contemporary art, los angeles

THE GEFFEN CONTEMPORARY AT MOCA 152 N. Central Ave., DOWNTOWN L.A. INFO 213/626-6222
tdd

213/621-1651 moca.org

AND THE WACK! ART FEMINIST REVOLUTION

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; tant donns: The French-American Fund for Contemporary Art; the Robert Lehman Foundation; Institut fr 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! Womens Consortium. This exhibition is presented as part of the Millennium on View program. The Millennium Biltmore Hotel is MOCAs 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, 196672; 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, 197075, film, courtesy of LUX