Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 8

Tracey Emin
Tracey Emin, "It Didn't Stop I Didn't Stop" hand signed offset lithograph FRAMED

2019

About the Item

Tracey Emin It - didnt stop - I didnt stop, 2019, from the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021 Offset lithograph promotional card (hand signed by Tracey Emin) Signed in black marker on the front Provenance Card acquired from the Royal Academy and signed by Tracy Emin at White Cube Gallery Frame included: elegantly floated and framed in a museum quality wood frame with UV plexiglass Signed in black marker by Tracey Emin on the front Gallery issued Certificate of Guarantee This offset lithograph promotional card was produced by the Royal Academy in London in a limited edition of an unknown quanity on the occasion of the exhibition TRACEY EMIN/EDVARD MUNCH EXHIBITION: THE LONELINESS OF THE SOUL, 2021. The card depicts Emin's 2019 acrylic on canvas painting: , It - didnt stop - I didnt stop, featured in the exhibition TRACEY EMIN/EDVARD MUNCH: THE LONELINESS OF THE SOUL (hand signed), 2021. The card was issued unsigned; however, exceptionally, Tracey Emin hand signed the present work in black marker at White Cube Gallery. It has been elegantly framed in a museum quality wood frame with UV plexiglass. Measurements: Framed: 12.5 inches by 13.5 inches by 1.5 inches Artwork: 7 inches by 5.75 inches Tracey Emin Biography: Tracey Emin looks to her life for her primary material. With soul-searching candour, she probes the construct of the self but also the very impulse to create. Unfiltered, irreverent, raw, she draws on the fundamental themes of love, desire, loss and grief in works that are disarmingly and unashamedly emotional. ‘The most beautiful thing is honesty, even if it’s really painful to look at’, she has remarked. Self-portraiture and the nude run throughout her practice, which Emin has described as being about ‘rites of passage, of time and age, and the simple realisation that we are always alone’. Her earliest works refer to her family, childhood and chaotic teenage years, growing up in the seaside town of Margate and leaving home at the age of fifteen. What happened next is explored, in a manner that is neither tragic nor sentimental, in drawing, painting, film, photography, sewn appliqué, sculpture, neon and writing, as the vicissitudes of relationships, pregnancies and abortions intersect with her commitment to the formal disciplines of art. Most recently, the artist has experienced her body as a battleground, through illness and ageing, on which she reports with characteristic fearlessness. The playful title of Emin’s first solo exhibition, My Major Retrospective 1963–1993, suggests the artist felt, despite being at the beginning of her career, significant things had already happened. Her obsessive assemblage of personal memorabilia included tiny photographs of her art school paintings that she’d destroyed, a ‘photographic graveyard’ that revealed an admiration for paintings by Egon Schiele and Edvard Munch. She details this ‘emotional suiside’ in Tracey Emin’s CV Cunt Vernacular (1997), among several early video works that give further insight into her formation as an artist, highlighting moments of epiphany through the use of first-person narrative. ‘I realised there was the essence of creativity, that moment of conception,’ she says in How It Feels (1996), a pivotal film in which she tells the story of her abortion. ‘The whole being of everything… it had to be about where it was really coming from’. Speaking to camera while walking through the streets of London, she concludes that conceptual art, as an act of reproduction, is inseparable from the artist’s inner life. Developing this connection, the haunting film Homage to Edvard Munch and All My Dead Children (1998) shows the artist on the pier near Munch’s house, naked and prostrate in the foetal position, the dawn rising over the water as she lifts her head and screams – a guttural response to great painter’s iconic image. In 1998, Emin created My Bed, an uncensored presentation of her most personal habitat. The double bed has become abstracted from function as it sits on the gallery floor, in conversation with art history and a stage for life events: birth, sleep, sex, depression, illness, death. The accumulation of real objects (slippers, condoms, cigarettes, empty bottles, underwear) on and around the unmade bed builds a portrait of the artist with bracing matter-of-factness, defying convention to exhibit what most people would keep private. The work gained international attention as part of the Turner Prize, entering Emin into public consciousness. Another work that became a byword for her art of disclosure was the sculpture Everyone I Have Ever Slept With 1963−1995 (1995, destroyed 2004), where the names of all those she had ever shared a bed with – friends, lovers and family – were sewn on the inside of a tent, a crawl-space that invites the viewer to reflect on their own inventory. Explicitly feminist, and acknowledging the influence of her friend and collaborator Louise Bourgeois, Emin’s choice of medium is integral to the story she tells. In hand-embroidered blankets and quilts, traditionally associated with women’s work, she pierces the visual field with words, combining scraps of different material with uneven stitching to spell out statements whose syntax and spelling remain uncorrected. With titles such as  Mad Tracey from Margate. Everyone’s been there, (1997) or Helter Fucking Skelter (2001), they register the artist’s acute sensitivity to the views of those around her and give a riposte, just as the medium is a riposte to the classification of fine art, for centuries dominated by male artists. As she herself became newsworthy, both nationally and internationally, Emin used the publicity to prick other forms of decorum in the professional art world – such as never over-explaining. In longer form, her memoir, Strangeland (2005) offers an account of her journey to becoming ‘a fucked, crazy, anorexic-alcoholic-childless, beautiful woman. I never dreamt it would be like this.’ The text is riddled with spelling mistakes that challenge the form and carry through a sense of unfiltered process, as was also the case with her long-running newspaper column for The Independent (2005–09), in which she narrated her weekly goings-on under the title ‘My Life in a Column’. Emin’s ongoing series of neons features snatches of text in her recognisable slanted handwriting, elevating fleeting thoughts and feelings as aphorisms: You touch my Soul (2020), I Longed For you (2019) or I don’t Believe in Love but I believe in you (2012). Her formulation of statements in the second person has the effect of placing the viewer squarely in the situation, and can encapsulate an entire romance in a pithy phrase, as in I want my time with You (2018), a twenty-metre-wide neon that greets passengers at London’s St Pancras Station. A critical part of her practice since the 1990s, the neons evoke the seafront lights of Margate, latent with the sense of dusk and faded glamour. Her birthplace is an abiding subject; it resurfaces in large-scale sculptures, where reclaimed wood and found materials are assembled in jagged structures that allude to the beach, pier, huts and tide markers. Margate’s famous theme park ‘Dreamland’ is referred to in several works, among them Self-Portrait (2001), which recreates the pleasure ground’s helter-skelter, and It’s Not the Way I want to Die (2005), which recalls the undulating roller-coaster in rickety, worn wood, fragile to the point of collapse. Margate is ‘part of me’, Emin says, and while looking back she is now looking to the future with the establishment of TKE Studios, a new art school and artists’ studios. Questions of mortality and the centrality of the female reproductive body drive The Mother (2021), one of Emin’s most significant public sculptures. Permanently sited next to the new Munch Museum, Oslo, it marks the death of her own mother, and brings her lifelong admiration for Munch full circle. Fifteen tonnes of bronze standing nine metres high, this woman with ‘her legs open to the Fjord’ is visible from afar over land and water, a monument to the female figure as protector without compromising on her vulnerability or eroticism. By contrast, Baby Things, Emin’s accurate rendering of children’s tiny lost shoes and clothes in bronze, was installed as if by chance outside the British Pavilion at the Venice Biennale (2007) and around Folkestone Triennial (2008), intimate tokens that might inadvertently provoke a range of reactions, from fear for those we love most, to the indifference with which we treat a discarded object. Most recently, Emin’s work has been charged by the seriousness of her medical situation, since in 2020 she was diagnosed with bladder cancer. Self-portraits taken on her camera phone in bed find the artist facing her ‘crippling’ insomnia in the small hours, and in recovery from extensive surgery. Her paintings of the nude figure have a tempestuous energy. Emin’s graphic line, by turn delicate or vigorous, imparts a sense of urgency; with each abandoned and assertive gesture, she is flaying herself open. Drips and obliterations point to the fluidity of the body, as it fluctuates between joy and suffering on its journey between birth and death. Explosions of colour allude to a self that is overcome by feeling and triumphing in sheer sensuality.  Tracey Emin was born in 1963 in London. She currently lives and works between London, the South of France, and Margate, UK. Emin has exhibited extensively including major exhibitions at Royal Academy of Arts, London (2020); Musée d’Orsay, Paris (2019); Château La Coste, Aix-en-Provence, France (2017); Leopold Museum, Vienna (2015); Museum of Contemporary Art, Miami (2013); Museo de Arte Latinoamericano de Buenos Aires (2012); Turner Contemporary, Margate, UK (2012); Hayward Gallery, London (2011); Kunstmuseum Bern (2009); Scottish National Gallery of Modern Art, Edinburgh (2008); Centro de Arte Contemporáneo, Malaga, Spain (2008); Art Gallery of New South Wales, Sydney (2003); and Stedelijk Museum, Amsterdam (2002). In 2007 Emin represented Great Britain at the 52nd Venice Biennale and her installation  My Bed has been included in ‘In Focus’ displays at Tate Britain with Francis Bacon (2015), Tate Liverpool with William Blake and also at Turner Contemporary, Margate alongside JMW Turner (2017). In 2011, Emin was appointed Professor of Drawing at the Royal Academy of Arts, London, and in 2012 was made Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts. -Courtesy of White Cube Gallery
  • Creator:
    Tracey Emin (1963, British)
  • Creation Year:
    2019
  • Dimensions:
    Height: 12.5 in (31.75 cm)Width: 13.5 in (34.29 cm)Depth: 1.5 in (3.81 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU1745214962992

More From This Seller

View All
Rhapsody, hardback monograph (Hand signed and inscribed by Jennifer Bartlett)
By Jennifer Bartlett
Located in New York, NY
Jennifer Losch Bartlett Rhapsody (hand signed and inscribed), 1985 Hardback monograph with dust jacket (hand signed and inscribed to Nadine) Hand signed and inscribed in black marker "for Nadine" by Jennifer Bartlett on the half title page 12 × 12 × 1 inches Provenance signed for the present owner at Paula Cooper Gallery on January 21, 2016 This substantial, lavishly illustrated hardback monograph with dust jacket, was hand signed by Jennifer Bartlett for the present owner at Paula Cooper Gallery on January 21, 2016. Makes an excellent gift Book information: Publisher‏: ‎ Harry N Abrams (November 1, 1985) English; Hardcover; 108 pages with color illustrations Editorial Review: Rhapsody'' is Bartlett's multi-part, multi-theme epic, a statement of the coming of age of an artist. A portable mural extended over 987 one-foot steel plates requiring 153 running feet of wall space, it is an enormous and infrequently mastered challenge to install and exhibit. In 1985-86, however, it will be on view in Minneapolis, Kansas City, Brooklyn, La Jolla, and Pittsburgh, and well worth a trip. In book form it becomes more available, with Smith's guided tour through sections, with Bartlett's notes giving conceptual coherence, and the opportunity to move from close-up to long view by turning a page. Rhapsody'' and this book afford a glimpse of a mind and art in action, a discovering and ordering process, an exciting demonstration of ways of growing and expressing the self and the world. Highly recommended. About Jennifer Bartlett: By the mid-1970s, Jennifer Bartlett (1941-2022, b. Long Beach, California) had emerged as a leading American artist of her time—particularly following the landmark presentation at Paula Cooper Gallery of Rhapsody (1976), Bartlett’s magnum opus, now in the collection of the Museum of Modern Art, New York. Bartlett’s first survey exhibition was held in 1985 at the Walker Art Center, Minneapolis, and traveled to the Brooklyn Museum, New York, and the Carnegie Museum of Art, Philadelphia, among others. In 2006, the Addison Gallery of American Art surveyed Bartlett’s early enameled steel plate paintings in the period from 1968–76. In 2013-14, Klaus Ottmann curated her second traveling survey, which visited the Pennsylvania Academy of the Fine Arts and the Parrish Art Museum, New York. In 2014, the Cleveland Museum of Art united her three monumental plate...
Category

1980s Contemporary Abstract Prints

Materials

Paper, Ink, Mixed Media, Lithograph, Offset

2004 Camden Arts Centre catalogue (Hand signed and dated by Christopher Wool)
By Christopher Wool
Located in New York, NY
Christopher Wool 2004 CAMDEN ARTS CENTRE (Hand signed and dated by Christopher Wool), 2004 Softcover catalogue (Hand signed and dated by Christopher Wool) Hand signed and dated 2017 ...
Category

Early 2000s Contemporary Abstract Prints

Materials

Paper, Ink, Mixed Media, Lithograph, Offset

Hardback Monograph: Dreambook (hand signed by sculptor Mark di Suvero)
By Mark di Suvero
Located in New York, NY
Mark di Suvero Dreambook (hand signed by Mark di Suvero), 2008 Hardback monograph with no dust jacket as issued (hand signed by Mark di Suvero) Boldly signed by Mark di Suvero on the...
Category

Early 2000s Contemporary Abstract Prints

Materials

Paper, Ink, Mixed Media, Lithograph, Offset, Permanent Marker

Monograph: Working Conditions (Hand signed by Hans Haacke)
Located in New York, NY
Hans Haacke Working Conditions (Hand signed by Hans Haacke), 2016 Hardback monograph with dust jacket (Hand signed by Hans Haacke) Hand signed by Hans Haacke on the half title page 9 1/2 × 8 × 1 inches Makes a superb gift! He didn't sign too many. This lavishly illustrated hardback monograph with dust jacket signed by Hans Haacke for the present owner at a special event at 192 Books in New York City. (owned by The Paula Cooper...
Category

2010s Contemporary More Art

Materials

Paper, Ink, Mixed Media, Lithograph, Offset

Cacophonous PACE Gallery exhibition catalogue (hand signed by Robert Irwin)
By Robert Irwin
Located in New York, NY
Robert Irwin Cacophonous (hand signed by Robert Irwin), 2015 Softback exhibition catalogue with stiff wraps (hand signed by Robert Irwin) Hand signed by Robert Irwin on the title pag...
Category

2010s Contemporary More Art

Materials

Paper, Ink, Mixed Media, Lithograph, Offset, Screen

Air: 24 Hours (Hand signed and inscribed hardback monograph) abstract figurative
By Jennifer Bartlett
Located in New York, NY
Jennifer Losch Bartlett Air: 24 Hours, 1994 Hardback monograph (book) bound in the publisher's original pink satin cloth with the covers and spine stamped in black. In publisher's original acetate dust jacket. Hand signed and inscribed by the artist on the half title page to Nadine (Witkin) 11 × 9 1/4 × 1 inches Unframed Hand signed and inscribed to Nadine on the title page Hardback monograph bound in the publisher's original pink satin cloth with the covers and spine stamped in black. In publisher's original acetate dust jacket. Publisher's Blurb: In Air: 24 Hours, Jennifer Bartlett creates her most personal paintings, all made between 1991 and 1992. Here, in each work, the unflinching presence of time is carefully, conspicuously monitored by a clock - light gray for day, dark gray for night. But motifs, color combinations, even certain images variously recur throughout the 24 paintings, shaking us up, causing us to realize that even the most seemingly casual, intimate scenes (a child's bedroom, a bathroom, the garden fish...
Category

2010s Contemporary More Art

Materials

Fabric, Mixed Media, Lithograph, Offset, Mylar, Ink

You May Also Like

Joan Miró Lithograph Derriere Le Miroir
By Joan Miró
Located in NEW YORK, NY
1970s Joan Miró Lithograph Portfolio: Derriere Le Miroir, 1973. Off-set lithograph in colors. 15x22 inches. Center fold-line as issued; very good overall vintage condition. Unsign...
Category

1960s Contemporary Abstract Prints

Materials

Lithograph, Offset

Vintage 1970s Alexander Calder poster (Calder prints)
By Alexander Calder
Located in NEW YORK, NY
Alexander Calder 'La Grenouille et Cie' Vintage original 1971 poster for the exhibition Pace Columbus (Ohio) featuring a printed Calder signature. Medium: Offset lithograph Dimensions: 25 x 32 inches An original 1st printing in very good vintage condition. Plate signed on the lower right from an edition of unknown. This is an original 1970s poster and not a recent reproduction of any kind. Related Categories Calder prints. Calder Mid Century Modern. 60s. Alexander Calder and Contemporary Art. Calder figurative. Vintage Calder.
Category

1970s Contemporary Prints and Multiples

Materials

Lithograph, Offset

Vintage 1970s Alexander Calder poster (Calder prints)
By (after) Alexander Calder
Located in NEW YORK, NY
Alexander Calder 'La Grenouille et Cie': Vintage original 1971 poster for the exhibition Pace Columbus (Ohio) featuring a printed Calder signature. Medium: Offset lithograph. Dimensions: 25 x 32 inches. An original 1st printing in very good vintage condition. Plate signed on the lower right from an edition of unknown. This is an original 1970s poster and not a recent reproduction of any kind. Alexander Calder changed the course of modern art with his three-dimensional kinetic sculptures, which Marcel Duchamp named “mobiles.” Resonating with tenets of Futurism, Constructivism, and early non-objective painting, Calder’s mobiles consist of boldly colored abstract shapes, which are made from industrial materials and hang in lyrical balance. Calder was an international phenomenon during his lifetime. He won the grand prize for sculpture at the 1952 Venice Biennale, where he represented the United States. He earned the French Legion of Honor and the American Presidential Medal of Freedom, among other honors. Calder has been the subject of solo exhibitions at the Museum of Modern Art, the Rijksmuseum, the Louisiana Museum of Modern Art, and the Museo Reina Sofía. His work regularly sells for eight figures on the secondary market. Though Calder is best known for his mobiles, his diverse practice also encompassed standing sculpture, painting, set and costume design, large-scale public installation, and jewelry-making. Related Categories Calder prints. Calder Mid Century Modern. 60s. Alexander Calder and Contemporary Art. Calder figurative. Vintage Calder.
Category

1970s Contemporary Prints and Multiples

Materials

Lithograph, Offset

Milton Glaser San Francisco Opera 1981 (Milton Glaser posters)
By Milton Glaser
Located in NEW YORK, NY
1980s Milton Glaser Poster Art: Milton Glaser San Francisco Opera: Vintage original Milton Glaser poster c.1981. Designed by Milton Glaser on the ...
Category

1980s Contemporary Figurative Prints

Materials

Lithograph, Offset

SIGNED 1960s Jean DUBUFFET print (Jean Dubuffet exhibition poster)
By Jean Dubuffet
Located in NEW YORK, NY
Jean Dubuffet Ustensiles Utopiques 1966: Hand-signed Jean Dubuffet lithographic poster published on the occasion of: "Jean Dubuffet, Recent Pa...
Category

1960s Contemporary Abstract Prints

Materials

Offset, Laid Paper, Lithograph

Keith Haring Rain Dance 1985 (Keith Haring posters)
By Keith Haring
Located in NEW YORK, NY
Keith Haring Rain Dance 1985: RARE original 1980s Keith Haring illustrated poster announcement for a legendary Keith Haring UNICEF benefit party at Larry Levan’s Paradise Garage in 1985. An event organized & curated by Keith Haring; with cohosts including Jean-Michel Basquiat, Andy Warhol, Roy Lichtenstein & more. A event organized by Haring on behalf of UNICEF’s African Emergency Relief Fund. Beautifully combines Haring’s trademark kinetic figures set amidst a standout blue and black color-way. Rare. Medium: Offset lithograph in colors on smooth wove paper. 1985. Dimensions: 8.5 x 11 inches (folded open). Fair overall vintage condition. Minor wear to center fold-line; minor separation to the mid far-left edge; surface loss lower left. Otherwise well-preserved. Printed signature, ‘Keith Haring 1985’ on lower right from a scarce edition of unknown. Looks fantastic framed. More on Keith Haring Rain Dance: Curated and organized by Keith Haring, Rain Dance was a 1985 benefit for UNICEF’s African Emergency Relief Fund. Participating artists famously included: Jean-Michel Basquiat, Larry Levan, Fred Brathwaite, Christo, Francesco Clemente, George Condo, Crash, Futura 2000, Jenny Holzer, John Lennon, Roy Lichtenstein, Robert Mapplethorpe, Brice Marden, Robert Morris, Yoko Ono, Lee Quiñones, Robert Rauschenberg, Kenny Scharf, Julian Schnabel, Richard Serra, Cindy Sherman, Tseng Kwong Chi, and Andy Warhol. _ Keith Haring (American, 1958–1990), a Neo-Pop and Graffiti artist, had a short but prolific career centered on a vision to unite “high art,” urban aesthetics, and public spaces using humorous, irreverent, and poignant works. Born in Pennsylvania, Haring attended the Ivy School of Art in Pittsburgh for two years, planning to become a commercial artist. He found this path unsatisfying, and instead chose to study at the School of Visual Arts in New York, where he met fellow artists Jean Michel Basquiat and Kenny Scharf. Haring immersed himself in the culture of the city’s streets and clubs, and, in 1980, began covering the blank billboards on subway station walls with his Subway drawings in chalk. Haring’s bold public art attracted the attention of several galleries, and, by the early 1980s, he was painting Neo-Pop works and large murals full time. In an effort to make his art widely accessible, Haring opened the Pop Shop in 1986 in downtown New York, selling commercial items adorned with his signature, cartoonish imagery. Haring combined graffiti, hip-hop, and urban aesthetics, frequently depicting animals, figures, commercial icons, sexual imagery, and childlike motifs in pieces that were both playful and concerned with social issues. His work became increasingly confrontational following his 1987 diagnosis of AIDS. Haring resolved to work harder than ever in his remaining years, creating pieces with a fervent speed and devoting his art to social action in addition to his personal expression. In 1989, he established the Keith Haring Foundation, whose goal is to promote art programs and public spaces for children, and to raise awareness about AIDS. Haring died on February 16, 1990 in New York at the age of 31. In addition to hundreds of exhibitions held during his lifetime, Haring has been the subject of numerous retrospectives in New York, San Francisco, Paris, Tokyo, Los Angeles and Berlin since his death. Related Categories: Keith Haring posters. Keith Haring activist poster. Keith Haring Dancers. Street art. Graffiti. 1980s. Keith Haring Larry Levan. Keith Haring Paradise Garage...
Category

1980s Contemporary Prints and Multiples

Materials

Lithograph, Offset

Recently Viewed

View All