Tracey Emin: “Art in Britain has never been better”

The artist opened her first major London retrospective today, and called it the “defining moment of her career”.

(Source: Telegraph)

Renowned for her controversial and often explicit work, she has spent a large part of her artistic career defending herself to the public. Yet today, as she opened her new show at London’s Hayward Gallery, Tracey Emin appeared markedly mellowed and presented her work with subdued confidence:

“This is the biggest defining moment of my art career. I am really proud of the exhibition. I don’t feel I have to defend it, I’m comfortable in it,” she said.

Talking about contemporary British art, she said that she was heartened that she and her fellow YBAs were “now finally getting recognition” – and added that art in Britain has never been better.

The exhibition is said to introduce the public to Emin’s lesser-known works – and self. Spanning the course of her career, the exhibition includes a series of photographs of the artist running naked down an East London street, as well as personal documents: love letters, the ashes from a shop she co-owned in 1993, archived paraphernalia and diary entries from the time of her abortion, and a blown-up photograph of her family at a village wrestling tournament on holiday in Turkey.

Her seminal work, The Tent (also called Everyone I Have Ever Slept With 1963–1995) in which she famously embroidered the names of all her lovers on the inside walls is not in the show. Today Emin expressed some remorse for the work, saying that she no longer uses names in any work:

“I know the repercussions of these works … I’m still very open but I now keep a little bit to myself.”

Tracey Emin: Love Is What You Want is at the Hayward Gallery until 29 August

Tracey Emin retrospective: in pictures

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2 Responses to “Tracey Emin: “Art in Britain has never been better””

  1. The artist herself as art! Nice read, I also blogged about the exhibition. 🙂

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