Margaret Morgan

Margaret Morgan
Margaret Morgan

Margaret Morgan


Your Gaze Bites the Side Of My Face, 1987
Margaret Morgan (Born 1958)
Oil on Linen and Cotton
Diptych, 30 X 23.5cm; 30.5 X 30.5cm
signed, dated and titled verso
Provenance: Mori Gallery, Sydney 1988; Christies, Melbourne, 01/05/2000, Lot No. 42

0419 540 162

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During the mid and late 1980s Margaret Morgan immersed herself in imagery relating to love, alienation, and sexuality derived primarily from film-still libraries, newspapers, postcards and comics. During this time her multi-panelled works provided a dialogue between drawing and painting on the one hand, and photography and film on the other. They often involved stylish female detectives. These essentially autobiographical works provided a forum for questioning subjects like gender and love.

Margaret Morgan holds a Masters of Fine Art from the University of California, Irvine and completed her undergraduate studies Alexander Mackie College of Advanced Education (City Art Institute) Sydney and at DAAD, West Berlin. She has been at tutor in painting at Sydney Collage of the Arts and Sydney University and taught at the Otis College of Art and Design, UCLA and Scripps College (a liberal arts women's college), California, USA. She currently lives in Los Angeles.

Morgan’s practice is varied: from drawing, photography and short film to public speaking and writing; to landscape design and gardening; to teaching and a philanthropic commitment to new music, art and education. She sees these practices on a continuum and brings to each a search for truth-telling, an ethic of care, and a desire to share an experience of critical pleasure. Her written work may be found in publications including Plumbing: Sounding Modern Architecture (Princeton Architectural Press); Women in Dada (MIT Press); and The M Word, Real Mothers in Contemporary Art (Demeter Press).

Her artwork has been exhibited and published widely but obscurely, in both hemispheres, for several decades. Exceptions to this ‘obscure’ rubric include the Vienna Secession; The Museum of Contemporary Art, Sydney; and the Museum of Contemporary Art, Los Angeles. Morgan writes: I love objects but I feel their burden: I like to make things but they are few in number and they are varied and rarely repeated. In this my practice is scattered, leaves in a landscape, invisible to most. Yet it is embedded in how I live and work, and for this reason it remains palpable to some, my best audience, and traceable when all my working life is put together.