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The Art of Tracey Emin | 
 enlarge | Authors: Chris Townsend, Mandy Merck
Publisher: Thames & Hudson Ltd
Category: Book
List Price: £12.95
Buy New: £9.99
You Save: £2.96 (23%)
New (35) from £6.78
Avg. Customer Rating:  6 reviews
Media: Paperback
Number Of Items: 1
Pages: 208
Shipping Weight (lbs): 1.5
Dimensions (in): 9.1 x 6.2 x 0.7
ISBN: 0500283850
Dewey Decimal Number: 709
EAN: 9780500283851
ASIN: 0500283850
Publication Date: October 2002
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 24 hours
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| Customer Reviews: Read 1 more reviews...
 Tracey Emin is a Star June 2, 2008
1 out of 2 found this review helpful
Tracey Emin is a star! I have all her books and though this is not my favorite it still offers a wonderful introduction to the work of one of the truly great feminine artists of our age. As to the the reviewer who that claims it `lacks Billy Childish' well that's because he obviously was not an influence. A great book about a great lady.
 Lacks Billy Childish May 19, 2008
Whilst this book has some interesting information and insights into Tracey Emins working practice, quite how the authors can omit Emin's relationship with the artist Billy Childish in the early 80's is frankly beyond me. Tracey has said in the past that Childish "was a major influence on my life." And Tracey worked selling books on Childish's small press Hangman Books for several years. The book is worth owning but it does make one question the level of research that has actually gone into other areas of the book and the final edit.
 Intelligent and Informative January 19, 2008
1 out of 1 found this review helpful
This book is a collection of essays about Emin's work. The preface says it all when it argues that it is time for people to stop discussing whether Emin's work is 'art', that has been clearly established by the fact that whether you like it or not, she is one of the most successful british artists of all time with a world wide reputation as a worthy artist. Her acceptance into the Royal Academy last year might help quell some of this criticism.
This book accepts that Emin's work is art and actually makes some headway towards discussing what kind of art, where in the history and tradition of art it falls and what it is saying other than the usual branding of it being 'confessional'. It does deal with Emin's celebrity, which of course is always an issue in understanding who she is and what she is trying to say, but it is not all it deals with.
Some of the essays were more interesting than others. Some seemed a little too theoretical, and actually spent more time discussing other artists and concepts than Emin. Others were really useful and provided new angles and insights into her work which were fascinating and relevant. The standout essays for me were the ones dealing with her monoprints, the ones about her films and the interview with the artist herself.
This book cements the fact that there is more to Emin than meets the eye. It's time to get over the 'I could do it myself' issue. She has been an established artist for years now, and let's face it: 'You didn't do it yourself did you?'So get over it and use this book to learn to appreciate her art as art.
Refreshingly open-minded responses to Tracey Emin's art June 27, 2006
12 out of 12 found this review helpful
This collection contains 10 essays on Tracey Emin's art, which are complemented by over 50 black-and-white illustrations of her drawings, blankets, installations and video-work. It culminates in a fifteen-page interview with Emin herself.
Given that Emin's art often seems to provoke snobbish elitism and prejudices in many contemporary art critics - "it's childishly solipsistic", "too hermetically self-absorbed to be a great artist," etc. - it is absolutely refreshing that the critics in this collection approach her work seriously and without pedantry. The collection transcends those tedious "but it is art?" discussions that Guardian critics love to table and elevates debate on the tensions between autobiography and constructionism in her art to a new level. They place Emin's work in an art-historical context, revealing how artists such as Edvard Munch, Egon Schiele, Gerhard Richter and Hannah Wilke have all influenced and informed her work up to now.
The most fascinating essay, I think, is Peter Osborne's analysis of Emin's photographic print "I've got it all, 2000", where Emin is sitting on the floor in a low-cut dress, looking down at the hoard of coins and notes she's holding onto between her bare, parted legs. The print is ambiguous, its title self-consciously ironic - is she stuffing her vagina with money (money as dildo, money as orgasm)? Or is the money penetrating her (money f*$!s with you, money f*$!s you over)? Or is it exuding from her like faeces or a child?
A few critics in the collection might take Emin's work a little too seriously; the best integrate its playful, ironic or humorous elements (Emin talks in the interview, for instance, of a film which she always wanted to make: "I wanted to be walking along a beach and then do a poo and bury it"). Emin seems to like paradoxes and tensions that trouble - "Love Poem, 1996", for example, is an appliqué blanket on which Emin has stitched a poem of hers equating sex with violence ("You put your hand / across my mouth still / the noise continues").
Emin strikes me as a very misunderstood artist, not as wildly controversial as her cultish supporters, and not as uninformed by artistic traditions as her detractors, would have us believe. This collection constitutes a considerable step towards demystifying her art.
Warmly recommended!
Yes, but is it art? February 26, 2006
1 out of 25 found this review helpful
Tracey Emin has carved a niche, and that niche is best described as "If I'd dared submit this for Art A-Level I'd have got a D minus". You either love it or loathe it, but it is work about which everyone has an opinion.Some could argue, and quite convincingly, that Emin is trying too hard to be controversial and were she to actually present traditional pieces of art (i.e. ones in a frame, hung on a wall) she would still be a complete unknown also-ran. Were I to nail a dead rabbit to a polystyrene bock and then float it in a barrel (on which were scrawled in emusion the names of the people with whom I was at infant school) of olive oil I could be the next Tracey Emin. but is that art?
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