acknowledge (or whatever) thyself: we bind not thee [ * The Thread of Life ] [ acknowledging Tracey Emin ]

I ended up in a discussion about women and art: the question as to whether the art of women is different in terms of character and content than that of men. When we are talking about the work of Tracey Emin, this is a relevant point. (…) I am inclined to regard most of her works, and certainly the more sizeable objects or groups of objects (the best known of which is the famous bed) as wordless stagings of short stories or perhaps excerpts from a journal. (…) is the bed so used and knocked about that it is destined to be an art object afterwards (…) or did the actual art idea come later – did the idea come after life, as a residue that began to possess an expressive and narrative intensity?

(…) However, the essence of Tracey Emin’s work is it’s liberation from style and form what we call good design. (…) her oeuvre is basically uncontrolled and lachrymose and fickle and coquettish and driven by an immoderate, female sentiment which, by it’s very immoderation and the absence of any shame, is painful or humiliating to see or to experience in our world. By ridding herself of style, Tracey Emin has been able to penetrate into a realm of harrowing sentiment that has never been opened before in art.

(…) when a woman displays herself in the nude, it is not voyeurism but disarming candour. The intimacy can be further explored. The art o Tracey Emin is efficient and tasteless and beyond the control of style (…).

Rudi Fuchs, Sept. 2002

In Ten Years Tracey Emin

Stedelijk Museum, Amsterdam

S M A Cahiers

Tracey Emin is a professor of confessional art at the European Graduate School - Biografia

influências: Edvard Munch, Egon Schiele

poesia: Christina Rossetti - * The Thread of Life

link para alguns trabalhos de Tracey Emin:
Do you fancy a fuck?

Everyone I Have Ever Slept With 1963-95 (interior) (exterior)

Exorcism of the last painting I ever made #1 #2 #3

No Chance

No More Difficulty