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Graphic Design

Morgan Markey

Morgan Markey is an American mixed-race artist whose practice is rooted in both image-making and book-making. Prior to attending the RCA, Morgan lived in New York and studied at the Parsons School of Design. She now lives and works in London. 

Exhibitions: Morgan is very very famous.People have said she is “the songbird of a generation”. Where has her work not been seen? Is the real question. 

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Degree Details

School of Communication

Graphic Design

Morgan Markey uses satirical imagery to broach the topic of identity politics by transforming and recontextualising the seemingly innocuous into the potentially problematic. Morgan uses book-making, photography, video and performance to document and observe the reverberations of colonialism in herself and elsewhere with the ultimate goal of motivating her audience to position themselves within the post-colonial world we live in.  

Email me to order book — Hard Cover 11.8cm x 13cm 40pg.
In "The Coloring Book", Morgan Markey addresses institutional and inherent racism by subverting the idea of a traditional children’s coloring book. Outlined in this coloring book are scenes of police brutality in the United States. Alongside the publication, Morgan provides both a lighter and darker skin toned marker to fill in the images. The reader is left to decide who in the image has lighter skin and who has darker skin. By making these assumptions, the reader is faced to reconcile with their own inherent racism and biases due to the social and political environment we live in, where black and brown people continue to be abused and murdered at the hands of law enforcement.

Medium:

Book

Size:

11.8cm x 13cm

Pink Nipple Dreams

Early exposure to films, discriminatory practices towards dark coloured skin within the make-up and fashion industries, as well as the overuse of white female bodies in advertising have attempted to convince young women that white beauty is beauty.

After discovering the popularity of modification practices to lighten the nipple and genitalia in various parts of the world, I decided to create this photo as a way of both addressing and mocking ideas of white idolisation. This scene depicts a moment where a mixed-race woman makes a haphazard attempt to assimilate to white female beauty standards.

Medium:

photograph on paper

Size:

27” x 39”

On The Rag

Societally periods are a mark of embarrassment and shame for most women. Cutting cherries on a rag is a visual representation of period blood on a rag. Cherries, a sexual symbol that has historically been used to refer to a women’s virginity, is used strategically in this image: to make the viewer think of periods and sex within the same context. This subversion provokes the viewer to recontextualise and reconsider the menstrual cycle.

Medium:

photograph on paper

Size:

24” X 18”
Steven Wright Impression — Research-based performance exploring how it would feel for a mixed-race woman to embody the monologue and performance of a middle-aged white male comic. In this video-based work, I impersonate Steven Wright, a comic from the late eighties, who uses quick and dry one liners to incite roars of laughter. I attempt to do the same, in identical fashion, but with my own set of jokes, only to receive crickets in response. This was an exploratory exercise to question how audiences receive and respond to jokes differently based on the identity individual.
What Colour Are You ? — “What Colour Are You?”, takes inspiration from female contemporary artists’ Carrie Mae Weem’s “Kitchen Table Series” and Martha Rosler’s “Semiotics of The Kitchen”. I reinterpret and recreate their works by creating a new version as it relates to me. During the reinterpretation process I was able to extract similar themes while breathing into them, a new voice. In “What Colour Are You” I fill in ethnicity surveys with black and white paint where the boxes indicate that I must either choose the black box or white box to identify myself. These videos are a commentary on my experience as a mixed-race person. The videos mock the idea of labelling the colour of someone’s skin by its actual colour, and in such binary terms. The photographs and video highlight our inability to label people of various origins – where our descriptors typically have little to no relationship to the individual’s actual background. The underlying humour in these works highlight the institutional racism that has laid down the framework for how we label and categorise people.

Medium:

Video

Size:

00:50, 1:30
Email me to order book — Risograph Print Coptic Bind A5 36pg
The events of the Vietnam War are deeply rooted in the history of young Americans yet for many, it feels out of reach and forgotten. A visual narrative of my experience in a country where the traces of its colonial past are hard to escape. Throughout this series of photographs, a timeline is set between three dates – the date of the Vietnam War, followed by my date of birth, ending with the date of entry into Vietnam. The timeline set alongside 35mm black and white photographs is meant to emphasise the significance of time. Using black and white 35mm film makes the timeline of the photographs unclear, which points to the nebulous qualities of history itself. What are the parallels between how time changes our relationship with history versus how time changes a specific location? How can a photograph be representative of that change? How much has time changed history? Or has the only change been our memory of it. This book stands as a testament to how little has changed in places that have been victims of war and inspires the audience to locate themselves in their own history by travelling and documenting.

Medium:

Book

Size:

A5

Sold Out Publishing

Website:

https://sold-out.net
20 July 2020
13:00 (GMT + 0)
Zoom

What's Your Reference? Part 1: Round Table

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