![]() ![]() Making that work was my way at getting back at him. Carl said to me that I should make some big work as he thought the small-scale stuff I was doing at the time wouldn't stand up well. The artist briefly described her position before the exhibition opening:Īt that time Sarah (Lucas) was quite famous, but I wasn't at all. At that time, Emin was not that famous outside the art circles and had a chance to show her works alongside the established artists such as Gilbert and George, as well as her peers Sarah Lucas and Hirst, who had already gained media attention. ![]() While working on this piece, Emin was in a relationship with Carl Freedman, a friend, and collaborator of Damien Hirst, who showed The Tent for the first time within the exhibition titled Minky Manky at the South London Gallery. The floor of the tent was covered with the text "With myself, always myself, never forgetting." The tent was a blue square reminiscent of the passageway shell grotto in Margate that fascinated Emin during her childhood. The most dominating name is perhaps Billy Childish, with whom Emin was emotionally involved for some time. And so, The Tent includes family, friends, drinking partners, lovers and even two numbered fetuses. It is often literally interpreted as a work indicating the number of her sexual partners, but it actually goes beyond that - it also includes the names of the people with whom she just slept. Tracey Emin The Tent Interior Everyone I Have Ever Slept With 1963–1995Įveryone I Have Ever Slept With 1963–1995 or The Tent was an actual tent embroidered with one hundred and two names of the people Tracey Emin had ever slept with until the time of its production in 1995. Looking from the contemporary stance, it seems that this particular piece bounded her previously described approach and enabled the artist to plunge deeper into the analyzes of the self by implementing a much required feminist intervention. The important element of Emin’s practice is performativity that is inseparable from the artist’s eccentric persona, and the way she perceives the public space.īefore she produced the critically acclaimed installation My Bed that launched her career, in 1995 Emin made the piece Everyone I Have Ever Slept With 1963–1995 better known as The Tent. Throughout the years, she constructed an authentic confessional approach that also had, depending from one project to another, certain social implication. The most prolific female figure from the YBAs and one of the two women ever accepted as professors by London’s Royal Academy of Arts, Tracey Emin came to prominence as a rebellious and highly controversial artist who explored her sexuality, gender, and addiction through various media. These emerging artists, graduates of the Goldsmiths BA Fine Arts degree course in the classes of 1987–90, were supported by the wealthy advertising mogul Charles Saatchi, and some of them became so famous that they reached the limits of stardom. Two years before the end of Thatcherism in 1990, an epic art event occurred in London - the first exhibition of the group called the Young British Artists, or YBAs. ![]()
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