Tracey Emin

Every Part of Me’s Bleeding

left: “The Hut” 1999, rebuilt beach hut once co-owned by the artist.

right: “Psyco Slut” 1999, applique blanket 96×76 in.

foreground right: “Leaving Home” 1999, metal tub, gin, two keys, two suitcases, chains, spool of thread 59×54 in.

A significant segment of the contemporary art public is amused by forms of Confessional Art that are almost solopsistic in their focus on the minutae and intimacy of the self. Along these lines, value is determined more by press coverage than by accomplishment. Apparently, it is possible to get attention through a titillating mix of self-assurance and self-loathing, an interplay that processes itself in autocannibalism.

Every Part of Me’s Bleeding

left top: “Soba Sex” 1999, neon 20×50 in. edition of three.
left bottom: “My Bed” 1998, (detail)

middle: “My Bed” 1998, mattress, linens, pillows, rope, various memorabilia.

background right: “The History of Painting” 1998, three pregnancy tests, morning after pills, five cases: wood, plexiglas with tampons, blood, tissue. (detail)
foreground: “My Cunt is Wet with Fear 1998, neon 10×55 in. edition of three.

The work itself is not as interesting as the effect it has upon the public. Our prurient juices might flow, arousing entanglements of distance, desire and voyeurism. We might dismiss it outright, incredulous that such a base and brazen display gets attention as Art. We might see the work as the necessary weapon of an heroic victim, the bloodied sword of a warrior in the sex and gender wars. We might stand aside as it incites the critics to criticize and the media to mediate, thereby establishing a market value for itself. Finally, the idea of meeting her at a party might make us nervous.

Every Part of Me’s Bleeding

left: “Just Part of Me” 1999, polaroid

right: “The Interview” 1999, video, monitor, two chairs, two pair slippers (detail)

right foreground: monoprint (detail)

The circular track we’re on here is dizzying and disturbing: the record of an intimate yet aggressive personal display that cannot, by definition, be for sale, is presented in a gallery as saleable art objects whose only value is based upon the public fascination created by the display. Life as performance as product supporting life as performance: a highly advanced form of self-perpetuating egosystem!

Art never ends. Let come with us on this website artseensoho.com to discover our life through art.

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