Margaret Morgan is an artist born in Australia and living in Los Angeles. She graduated Master of Fine Art, University of California Irvine and was a Fellow at the Whitney Independent Studies Program. Margaret Morgan thinks of herself as a scatologico-feminist, which is to say her oeuvre considers the discomforting subject of scatology from a feminist perspective, arguing that a performed and manifest misogyny is itself a mask for an even more pervasive bodily anxiety around the subjects of anality, bodily waste and decay. Her work particularly addresses the vestiges of this anxiety as it percolates through 'the American century' and the culture of modernism. She is concurrently developing a body of work that addresses notions of the maternal in relation to bodily anxiety, loss and mothering. She considers her drawing, writing, teaching, photography and videography to be on a continuum: all art and equal parts of her practice. Her work may be found in publications including Plumbing: Sounding Modern Architecture (Princeton Architectural Press); Women in Dada (MIT Press); The M Word, Real Mothers in Contemporary Art (Demeter Press).
1972. A new mother lives in a communal household. The group thinks that the state will wither away, capitalism too. When the group asks the mother to wean her baby, the better to share equally the responsibility of childrearing, the mother cries. The mother does not want to wean her child. The mother wants to be the primary caregiver. For the mother, this is the moment when the psychoanalytic enters the discourse, no Marx without Freud, no Lacan without Kristeva: in the new world, universal childcare will be necessary but not sufficient. The mother is Mary Kelly, the artist whose early career would cohere around soiled diapers, and whose practice has always been profoundly on the side of the maternal.