Tracey Emin : Art and celebrity excerpts
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Click the photo to see a sample of nine Tracey Emin quotes— and 69 media placements.
Billy Childish was later to exploit his past relationship with Tracey Emin by displaying photographs taken by Eugene Doyen in the early 1980s of her posing naked and semi-naked alongside Childish’s works in the exhibition Billy Childish and Tracey Emin: Alive and well and dying in Chatham (London: Pure Gallery, November 2000). One unflattering image showed that Emin had no front teeth. Others make it clear that Emin was happy to play the role of a glamour model.
Tracey Emin’s looks have been characterised as "feral" and "wanton gypsy" and some think she resembles Frida Kahlo. When David Bowie met her, he noted her "elastic lips, broken teeth and half-closed eyes" but at the same time found her "sexy and exhilirating". There is no doubt that part of her appeal has been her sexually alluring body that she has been as willing to flaunt as any model working for erotic magazines. Yet, Emin was offended when a picture of her in the nude was reproduced on page three of the Star. [...] She has also been dubbed "Racy Tracey" and characterised herself in one appliquéd blanket as a "psyco [sic] slut" There are many echoes of the body and feminist art of the 1970s in her oeuvre.
Tracey Emin has employed a variety of art forms. In addition to drawings, paintings and sculptures, she has produced books/diaries, photographs, prints, videos, Super 8 films, neon signs, appliquéd chairs, tents and wall hangings, mixed-media installations and live performances.
Two noted instances of self-publicity and marketing were The Shop, an exhibiting and selling space she and her "Bad Girl" friend and fellow artist Sarah Lucas opened in London’s East End during 1993 and the Tracey Emin Museum in Waterloo Road (1995-98). During the mid-1990s, Carl Freedman was one of Emin’s lovers and the fact that he curated exhibitions assisted her career.
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Tracey Emin. ("The tent":) Everyone I ever slept with 1963-1995, (1995). Appliqued tent, mattress, and light, 48 x 96 1/2 x 84 1/2"
Like Damien Hirst, Tracey Emin benefited immensely from the collecting passion and publicity skills of Charles Saatchi even though he was slow to appreciate her work and she was at first reluctant to sell to him because of his agency’s advertisements supporting the Conservative Party. (She favours the Labour Party.) His Sensation show at the Royal Academy in 1997 included a small camping tent by Emin embroidered on the inside with 102 names entitled Everyone I have ever slept with 1963-1995. Only a minority of the names were sexual partners and Emin has remarked that the tent—which viewers had to crawl into to see properly— was more about "intimacy" than sex.
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