Tony MORGAN caught the zeitgeist perfectly with his films of random and bizarre activities in videos that often featured him. Part Fluxus inspired, these videos are compelling expressions of Morgan's sad but humorous reflection of social and political change. In the early 1970s, he started to address issues related to identity and gender, establishing Herman, his woman alter ego. Morgan's collaboration with Daniel Spoerri, Beefsteak - Resurrection (1968), reverses the story of a steak from excrement to its genesis as a cow in a field, while Shatter (1973), features a hammer relentlessly tapping the surface of the screen until it breaks. Visually disturbing, these works are characteristic of Morgan's aesthetic.
Living in Dusseldorf during the late 1960s and early 1970s, Morgan was a contemporary of Blinky Palermo, Sigmar Polke, Gerhard Richter, and Joseph Beuys, and actively involved with performances at the Städtische Kunsthalle, Dusseldorf and Aktionsraum, Munich. The recent revival of interest is now restoring this original and provocative artist to his rightful place. In 2002, MAMCO, Geneva held a solo presentation of his work: 'Tony Morgan, The Birth of Herman'.