The most highly publicized of the infamous Young British Artists, Emin has stirred as much controversy as she has acclaim, being both highly personal and extremely original in her art. Emin's work is engaging, titillating, disturbing, and startlingly confessional. One of her most famous pieces is Everyone I Ever Slept With 1963-1995, a tent appliquéd with names. Another notorious work, My Bed—the scene where she spent four days contemplating suicide—was exhibited at Tate Britain when the artist was short-listed for the Turner prize in 1999. Though denounced by conservative critics at the outset, Emin's work has attracted serious critical attention for more than a decade. In the words of Art in America, "What brought Emin to prominence was shock value, but what keeps her work powerful as she continues is the strength and nuance of its form and content." Compiled in close collaboration with the artist herself—and unprecedented in its scope—this is the definitive book on Emin, featuring drawings, paintings, sculptures, appliqués and embroideries, neon and video stills as well as her own writing.
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"Generously illustrated with color and black-and-white reproductions..." -- 03/01/07 LIBRARY JOURNAL
"The 300 images remind us of her fresh take on the dirty-girl, wounded-soul, shock-value art that has kept the art world's attention for almost 20 years." -- Oct06 BLACK BOOK
-- "...assembled so comprehensively that we're convinced fairly easily her savage parade is worth the reliving." -- 12/10/06 CHICAGO TRIBUNE
"The 300 images remind us of her fresh take on the dirty-girl, wounded-soul, shock-value art that has kept the art world's attention for almost 20 years." -- Oct06 BLACK BOOK
-- "...assembled so comprehensively that we're convinced fairly easily her savage parade is worth the reliving." -- 12/10/06 CHICAGO TRIBUNE
About the Author
Tracey Emin was born in London in 1963 and attended the Royal College of Art where she attained an MA in Painting in 1989. Emin exhibits in galleries and museums around the world. She lives in London.Carl Freedman is a renowned critic and curator who has followed the careers of Emin and other prominent YBAs for more than a decade. He has written for Frieze, Parkett, and The Guardian as well as many catalogue texts. Honey Luard is head of publications and press at White Cube gallery in London. She has also edited Russian Criminal Tattoo Encyclopaedia (Steidl/Fuel, 2004).
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Most Helpful Customer Reviews
8 of 9 people found the following review helpful:
2.0 out of 5 stars
Repetitive,
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This review is from: One Thousand Drawings (Hardcover)
I was looking forward to this book release and was quite disappointed when it finally came out. It's very thick which is it's best attribute, but the content gets boring fast. The sketches are very raw, very simple, and not very diverse in subject matter. 1,000 was far too many than was needed. 500 would have been too many. A 100 would have easily given you the basic idea. These are simple line drawings of figures, reproduced fairly small and with not much detail. This is for Emin completists only.
8 of 14 people found the following review helpful:
4.0 out of 5 stars
An Artist's Artist,
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This review is from: Tracey Emin (Hardcover)
If we can assume for the moment that one of the most daunting enemies of art is fear, then Tracey Emin is contributing to the art world in ways that are anything but obvious. If art causes one to think, to wonder, and to move the artist's images in and out of one's own life, just to see how it fits, like furniture seeking its rightful position in the room, then the business of art is really all about seeding the imagination. Seeds must be honest, and honest art must be fearless. The art in this book is not always pretty and comfortable, but it is always thoughtful and honest and fearless. In the effort to appreciate art, people have cautioned that one should view the art - not the artist. That isn't possible in the case of Tracey Emin, because the art and the artist are inseparable entities. She is the art, and her honesty shines through like a diamond in a mud pie. I don't know Tracey Emin, but I do know that if I ever met her, I'd never forget her. This book might be most readily appreciated by artists who will not just find inspiration in images that haven't already been thought about as much as the ones thought about but supressed. If you're an artist, I can't promise that you'll feel good about the way Emin approches her art, but I'm reasonably sure that you'll feel good about the way you'll begin to approch yours.
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