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Tracey EminTracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin)2013
2013
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Tracey Emin
Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin), 2013
Hardback monograph (hand signed, inscribed to Kevin and dated by Tracey Emin)
Warmly signed, inscribed and dated by Tracey Emin on the title page
9 × 7 1/4 × 1 inches
Warmly signed, inscribed to Kevin and dated by Tracey Emin on the title page Tracey signed this for the present owner at an official book signing in New York back in 2013, so provenance is direct.
Publisher's blurb:
My Photo Album is a journey through the life of British artist Tracey Emin using photographs from her personal collection. Edited from the albums she has kept from an early age, this visual autobiography contains some amazing images: Tracey sharing a pram as a baby with her twin Paul, her bus-pass photo aged 14, a ‘glamour’ shoot as a semi-naked art student, her early successes as an artist, through to hanging out with superstars such as David Bowie and Ronnie Wood. Perhaps more than any other artist working today, Tracey Emin’s work is grounded in the personal experiences and events of her life. In these poignant photographs we can examine this crossover: the moments that have shaped her, and influenced her work: from her family life to the pivotal Young British Artist movement of the 1990s. The design of the book resembles a photo album, with Tracey’s handwritten captions and notes accompanying the photographs. Virtually all of the 283 images have never been published before. Taken on 35mm film, they have an intimate, visceral quality. By turns tender and extrovert, they simultaneously document both the blossoming of an artist and a unique period in art history, from Emin’s singular viewpoint.
About the book:
Publisher: FUEL Publishing, 2013
Hardcover, 156 pgs, 283 images in color and bw
About Tracey Emin:
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
- Creator:Tracey Emin (1963, British)
- Creation Year:2013
- Dimensions:Height: 9 in (22.86 cm)Width: 7.25 in (18.42 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213259262
Tracey Emin
Tracey Emin was born in Croydon, in South London, in 1963, and raised in Margate, Kent. She studied fashion at the Medway College of Design (now the University for the Creative Arts) from 1980–82. At Medway, she met Billy Childish, who would become a huge inspiration for her work, and became closely associated with The Medway Poets. During this time, Emin became the administrator for Childish’s small printing press, Hangman Books.
In 1984 she went on to study printing at Maidstone Art College. In 1983, Emin opened a shop with fellow artist Sarah Lucas, called The Shop in Bethnal Green. The Shop sold works by Emin and Lucas, including original t-shirts and ashtrays featuring iconic artist Damien Hirst.
In November 1993, Emin held her first solo show at White Cube in London. She named her autobiographical exhibition “My Major Retrospective,” which largely consisted of personal photographs, photos of her own early paintings that she had destroyed, and a few emotionally charged items such as a packet of cigarettes her uncle was holding when he was decapitated in a car crash.
In 1994, Emin toured the United States, making stops en route with partner Carl Freedman to give readings from her autobiographical book Exploration of the Soul. In 1995, Emin produced her famous “tent” — Everyone I Have Ever Slept With 1963-1995 — which was exhibited in Freedman’s curated show “Minky Manky” at the South London Gallery. This piece was later bought by Charles Saatchi and included in the acclaimed 1997 “Sensation” exhibition at the Royal Academy of Arts in London, going on to tour Berlin and New York.
Emin appeared on a Channel 4 television series in 1997 titled Is Painting Dead? that largely comprised a discussion over the Turner Prize. Two years later, in 1999, Emin was shortlisted for the Turner Prize herself and exhibited My Bed at the Tate Gallery. In the same year, she exhibited a number of monoprint drawings inspired by Princess Diana for an exhibition at The Blue Gallery, London.
Elton John and George Michael are both famed collectors of Emin’s work, with Michael holding the “A Tribute to Tracey Emin” exhibition in September 2007 at the Dallas-based Goss-Michael Foundation. A solo exhibition, “This is Another Place,” was held at the Modern Art Oxford from 2002–03, and in 2007, Emin was included in the British Pavilion at the Venice Biennale. The same year, Emin was made Royal Academician by the Royal Academy of Arts. She has previously been invited to include works at the Royal Academy “Summer Exhibitions” dating back to 2001. Emin curated the 2008 “Summer Exhibition” and gave a public talk and interview with Matthew Collings, during which they mused on her role within the Royal Academy. Emin’s art has fetched astronomical amounts at auction, selling to Charles Saatchi, the 2011 Prime Minister (David Cameron), David Bowie and more for their private collections.
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Inscription reads:
For Nadine
Love Tracey Emin
2011
NY
X
Publisher's Blurb:
Tracey Emin has stirred controversy as well as acclaim since she rose to fame as the most highly publicized of the infamous Young British Artists. Though denounced by conservative critics at the outset, Emin’s work has attracted serious critical attention since the early 1990s for being consistently engaging, original, and startlingly direct. Her work has succeeded over the years in many media—from films to appliqués, embroideries, and installations—but it is in her works on paper that the honesty and frankness that have come to characterize her work are most fully realized. Edited by the artist herself from an archive of work stretching back before the beginnings of her career in the late 1980s, A Thousand Drawings is at once a collection of Emin’s works on paper, an exposé of her life as an artist, and a collectible artifact in itself. Many of these works on paper shed light on well-known multimedia pieces, previously studied in Works 1963–2006, published by Rizzoli in 2006. Stripped of the distractions of form and context, her bare and enigmatic drawings are presented on bible-thin paper in a uniquely beautiful slipcased volume, with an introduction by the artist. From considered self-portraits to pen-and-ink drawings and informal studies on lined notebook paper, this remarkable collection is as much a catalogue of Emin’s preoccupations as it is a monument to her raw and evocative talents as an artist.
Review
“Emin-an artist who is not afraid to wear her heart on her sleeve, or, indeed too embroider it on a blanket-personally chose the pictures for this book, and the delicate sketches are at once a glimpse of the profundity she’s capable of, and a reminder of vulnerability.” ~Nylon Magazine
About the Author
Tracey Emin was born in London in 1963. Nominated for the Turner Prize in 1999 and chosen to represent Britain at the 52nd Venice Biennale in 2007, Emin is also a member of the Royal Academy of Arts. The author of several books, including Strangeland, her memoir, she contributes regularly to The Independent newspaper and lives and works in London.
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