Tracey Emin

Tracey Emin is a notable and prolific British artist recognized for her place in the Young British Artists movement of the 1990s, and in particular for her provocative and controversial works such as Everyone I have ever slept with 1963-1995 and My Bed, which was on display at London's Tate Modern gallery as part of her nomination for the Turner Prize in 1999.

As illustrated in these works and others, Tracey Emin explores very personal and sometimes turbulent childhood experiences and sexual history in her art which is often described as confessional. These sources are reflected very literally, creating strikingly autobiographical pieces, the titles of which convey exactly what the viewer sees without veiling the works in metaphor or symbolism. She works in a wide variety of media including neon lighting, needle point, and photography.


Image courtesy of White Cube

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Michael Cox - The Art for Home Interview
Michael Cox - The Art for Home Interview
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Katherine Bernhardt on her work in our new Greenpeace edition set
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The Artspace Group Show: Mothers
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Broaden Out Into New Media With These Innovative Works
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113 Artists on the Cutting-Edge of Textile Art
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Behind Some of the World's Largest Artist Grants
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4 Reasons to Collect Tracey Emin's Sexy Neon Lithographs
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Art Listory: The Clickiest Listicles of 2016
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Christopher Le Brun on the UK's Only Free, Artist-Run School
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Here's How 10 Masterpieces Got Sold at Christie's
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10 Remarkable Recent Sculptures You Need to Know
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Artist Eddie Peake on Finding the Erotic in the Olympics
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10 Searing Political Artworks You Should Know
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Michael Xufu Huang on Making "The MoMA of China"
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Ben Genocchio on Why You Should Buy at Fairs
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The Art of the Fontainebleau: A Q&A
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(No)body of Art? 8 Unpeopled Conceptual Portraits
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Jessica Jackson Hutchins on Portland's Art Scene
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Noah Charney's Artspace Picks
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7 New Art Documentaries to Watch
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10 Exhibitions That Changed Contemporary Art
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A Moveable Feast: Art From London to Sochi
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Tracey Emin's Heartbreakingly Erotic Art
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The Scandalous History of the Turner Prize
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MoCA's Alex Gartenfeld on Keeping the Museum DIY
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Why Does Art History Have the Blues?