My first module of my final year in my degree was on the topic of graphic authorship. Perhaps either to raise awareness of these issues, or to be of comfort to others who can unfortunately relate to her trauma and to remind them that they are not alone. Whether this be for personal gain in terms of finance, a form of therapy, an ascendance as an artist or a less selfish and more ‘moral’ way to publicise her completely personal, and tragic experiences. I will also be exploring other artworks and criticisms relating to Emin. To do so, I will be looking into the artworks “ I’ve got it All” (Emin, 2000), “My Bed” (Emin, 1999) and “Terribly Wrong” (Emin, 1997) all of which have been created by Emin. The rationale behind this research project is to try and determine the intentions behind her work. I smell of decay, the acrid smell of a lonely person, a person with no respect or regard for themselves” (Emin, 2006, p.34). Much like Emin, this work demanded an intense attention most times, not a positive one.
TRACEY EMIN STRANGELAND FULL
This was accompanied by masses of private and personal items including condom wrappers, ashtrays full of cigarettes and empty bottles of alcohol. As it is not her real bed but indeed a copy, it caused further backlash in opposition to the dedication it took to recreate such a piece. The fact that this artwork is a replica only caused more of an uproar of controversy. During this time, the nomination which was paid the most attention to in the media seemed to be Emin’s taboo sculpture of ‘ My Bed.’ This was an installation of a replica of her unmade, dirty and lived in bed. Emin was nominated for the 1999 Turner Prize for this work, alongside artists’ such as Steven Pippin, Jane and Louise Wilson and the winner, Steve McQueen. Moreover, ‘ My Bed’ (one of the artworks Emin is most infamous for) proves that she is in fact an autobiographical artist, and undeniably a fearless one too.
Collings states looking at yBa’s art is “…Like being stuck behind children or old or blind people in a crowd at an underground station, when you’re in a hurry for a train” (Collings, 1997, pp. Perhaps part of Emin’s oeuvre and fearlessness comes from being a part of the yBa’s, although this is not always received greatly. She reclaims her experiences and makes them her own stories to publicise through her art, books and multiple newspaper columns. This strategy of ‘re’ is undeniably evident in Emin’s work as she herself is the focus within her own narrative. Think reprise think reply think repeat think reinterpretation” (Merck and Townsend, 2002, p.8). “The yBa’s seem to depend markedly upon strategies of the ‘re’. The yBa’s are a collective of visual artists who pursued exhibiting together in London in the 1980’s. Emin is a white female artist, a feminist and a ‘Young British Artist’ (also known as yBa). Emin is known for a plethora of things, especially for being in the eye of the media as the latter quote suggests. In this research project, I will be investigating the reasoning behind the infamously unapologetic autobiographical artist Tracey Emin’s work.
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