Treysi Emin - Tracey Emin

Treysi Emin
CBE, RA
Tracey Emin 1-cropped.jpg
Emin Lighthouse Gala kim oshdi savdosida Terrens Xigginsga ishonish, 2007
Tug'ilgan
Treysi Emin

1963 yil iyul
Kroydon, Angliya
MillatiInglizlar
Ta'lim
Taniqli ish
Men 1963-1995 yillarda uxlagan har bir odam, Mening karavotim
HarakatYosh britaniyalik rassomlar
Turmush o'rtoqlarUning bog'idagi tosh
Veb-sayttraceyeminstudio.com

Treysi Emin, CBE, RA (/ˈɛmɪn/; 1963 yil iyulda tug'ilgan)[2] avtobiografik va konfessional badiiy asarlari bilan tanilgan ingliz rassomi. Emin turli xil ommaviy axborot vositalarida ish olib boradi rasm chizish, rasm, haykaltaroshlik, film, fotosurat, neon matn va tikilgan aplikatsiya. Bir marta "enfant dahshatli " ning Yosh britaniyalik rassomlar 1980-yillarda Treysi Emin endi Qirollik akademigi Qirollik san'at akademiyasi.[3]

1997 yilda uning ishi Men 1963-1995 yillarda uxlagan har bir odam, rassom ko'rpa-to'shakda yotgan har bir kishining ism-shariflari yozilgan chodir aplikatsiyasi namoyish etildi Charlz Saatchi "s Sensatsiya Londondagi Qirollik akademiyasida bo'lib o'tgan ko'rgazma.[4] Xuddi shu yili u mast holda bir necha bor jonli muhokamalar dasturida qasamyod qilib, ommaviy axborot vositalarida katta ta'sir ko'rsatdi. Rassomning o'limi Britaniya televideniesida.[5]

1999 yilda Emin AQShda o'zining birinchi shaxsiy ko'rgazmasini o'tkazdi Lehmann Maupin galereyasi, huquqiga ega Qon ketishimning har bir qismi. Keyinchalik o'sha yili u a Tyorner mukofoti nomzod va namoyish etildi Mening karavotim - o'zining tayyorlanmagan iflos yotog'idan tashkil topgan tayyor inshoot, unda u bir necha hafta ichkilikbozlik, chekish, ovqatlanish, uxlash va qattiq hissiy oqim davrida jinsiy aloqada bo'lgan. San'at asarida ishlatilgan prezervativ va qonga bo'yalgan ichki kiyimlar namoyish etildi.[6]

Emin shuningdek panelist va ma'ruzachi: u ma'ruza qildi Viktoriya va Albert muzeyi Londonda,[7] Sidneydagi Yangi Janubiy Uels san'at galereyasi (2010),[8] The Qirollik san'at akademiyasi (2008),[9] va Teyt Britaniya Londonda (2005)[10] ijodkorlik va avtobiografiya o'rtasidagi aloqalar, sub'ektivlik va shaxsiy tarixning san'at qurilishidagi o'rni haqida. Emin's turli xil ommaviy axborot vositalarini, shu jumladan igna va haykaltaroshlik, rasm, video va installyatsiya, fotosurat va rasmni qamrab oladi.[11]

2011 yil dekabr oyida u rasm chizish professori etib tayinlandi Qirollik akademiyasi; bilan Fiona Rae, u Akademiya 1768 yilda tashkil topganidan beri birinchi ikki ayol professorlardan biri.[12][13]

Emin yashaydi Spitalfields, Sharqiy London.[14][15][16]

Biografiya

Dastlabki hayot va ta'lim

Sexton Ming, Tracey Emin, Charlz Tomson, Billi Childish va Rochesterdagi kattalar uchun ta'lim markazida Rassel Uilkins 1987 yil 11-dekabrda yozib olishdi Medway shoirlari LP

Emin tug'ilgan Kroydon, tumani London janubi, ingliz onasiga Romanichal kelib chiqishi,[17] va tarbiyalangan Margate, Kent, egizak ukasi Pol bilan.[18]

Emin ikkinchi amakivachchasi bilan otaning buyuk bobosi bilan bo'lishadi Meral Hussein-Ece, baronessa Hussein-Ece. Xabarlarga ko'ra, bu ajdod Abdulloh a Sudanlik qul ichida Usmonli imperiyasi.[19][20] Uning otasi orqali u Kiprlik turk kelib chiqishi.[21] Marginda yashab yurganida Emin 13 yoshida zo'rlangan, bunda ushbu hududdagi hujumlar "ko'p qizlarga nima bo'ldi" deb baholadi.[22] Uning ishi erta o'spirin va bolalikdagi zo'ravonlik, shuningdek jinsiy tajovuz nuqtai nazaridan tahlil qilingan.[23]

U moda bo'yicha o'qigan Medway dizayn kolleji (hozir Ijodiy san'at universiteti ) (1980–82),.[24][25] U erda u chetlatilgan talaba bilan uchrashdi Billi Childish va bilan bog'liq edi Medway shoirlari.[26] Emin va Childish 1987 yilgacha er-xotin bo'lishgan, shu vaqt ichida u kichik matbuot uchun ma'mur bo'lgan, Asma kitoblar, Childishning taniqli she'riyati nashr etilgan.[26] 1984 yilda u matbaa o'qidi Maidstone san'at kolleji (hozir Ijodiy san'at universiteti ).[27][28]

1995 yilda u bilan suhbatlashdi Minky Manky[29] tomonidan katalogni ko'rsatish Karl Fridman, kim unga: "Sizningcha, qaysi odam sizning hayotingizga ko'proq ta'sir qilgan deb o'ylaysiz?" U javob berdi: "Umm ... Bu aslida odam emas. Bu ko'proq vaqt edi Maidstone san'at kolleji, Billy Childish bilan birga osilgan, tomonidan yashagan Medvey daryosi ".[18]

1987 yilda Emin Londonda o'qish uchun ko'chib o'tdi Qirollik san'at kolleji, u erda 1989 yilda u an MA rasmda.[30][31] O'qishni tugatgandan so'ng, u ikki marotaba abort qildi va ushbu tajriba uni aspiranturada ishlab chiqqan barcha san'atlarini yo'q qilishga olib keldi va keyinchalik bu davrni "hissiy o'z joniga qasd qilish" deb ta'rifladi.[32][33] Uning ta'siri Edvard Munk va Egon Shele va bir muncha vaqt u falsafani o'qidi Birkbek, London universiteti.[34][25]

Qirollik san'at kollejidagi davridan omon qolgan rasmlardan biri Do'stlik, Qirollik san'at kollektsiyasida joylashgan.[35] Bundan tashqari, uning dastlabki ishlaridan vayron qilinmagan bir qator fotosuratlar namoyish etildi Mening asosiy retrospektivam.[33]

Ishga qabul qilishning boshlanishi

1993 yilda Emin boshqa rassom bilan do'kon ochdi Sara Lukas, deb nomlangan Do'kon Bethnal Green Road 103 da Bethnal Green, shu jumladan, ikkalasining asarlarini sotgan Futbolkalar va kul laganda Damin Xirst pastki qismga yopishtirilgan rasm.[36]

1993 yil noyabrda Emin o'zining birinchi yakkaxon shousini o'tkazdi Oq kub, Londondagi zamonaviy san'at galereyasi.[37] U chaqirildi Mening asosiy retrospektivam va avtobiografik edi, bu shaxsiy fotosuratlar, uning (yo'q qilingan) dastlabki suratlarining fotosuratlari, shuningdek, aksariyat rassomlar omma oldida namoyish qilishni o'ylamaydigan buyumlar (masalan, amakisi mashinada boshini tanasidan judo qilganda tutib turgan sigaret qutisi kabi). halokat).[38]

1990-yillarning o'rtalarida Emin bilan munosabatlar mavjud edi Karl Fridman bilan erta do'st bo'lgan va u bilan hamkorlik qilgan. Damin Xirst va kim seminalni birgalikda tuzgan Britart kabi namoyishlar Zamonaviy tibbiyot va Qimorboz.[39] 1994 yilda ular birgalikda AQShni aylanib chiqishdi Kadillak dan San-Fransisko Nyu-Yorkka va avtobiografik kitobidan o'qigan joyida to'xtab turdi Ruhni o'rganish sayohatni moliyalashtirish uchun.[40]

Er-xotin dengiz bo'yida vaqt o'tkazdilar Whitstable birgalikda foydalanib, a plyaj kulbasi 1999 yilda unvon bilan ildiz otib, san'atga aylanganligi Sizga aytgan oxirgi narsa - bu erda meni tashlab ketmang,[41] va bu 2004 yilda yo'q qilingan Momart omborida yong'in.[32]

Men 1963-1995 yillarda uxlagan har bir odam Tracey Emin (1995) tomonidan. Asarning ichki ko'rinishi.

1995 yilda Fridman shouni boshqargan Minky Manky da Janubiy London galereyasi. Emin shunday dedi:

O'sha paytda Sara (Lukas) juda mashhur edi, ammo men umuman yo'q edim. Karl menga katta ish qilishim kerakligini aytdi, chunki u o'sha paytda qilgan kichik hajmdagi ishlarim yaxshi turolmaydi deb o'ylardi. Men g'azablandim. Bu ishni bajarish unga qaytish uchun mening usulim edi.[42]

Natijada uning "chodiri" Men 1963-1995 yillarda uxlagan har bir odam, bu birinchi namoyishda namoyish etilgan. Bu ko'k chodir bo'lib, u uxlagan har bir kishining ismi yozilgan. Ular orasida jinsiy sheriklar, shuningdek, u bolaligida u bilan yotgan qarindoshlari, egizak ukasi va abort qilingan ikki bolasi bor edi.[43]

Ushbu ish uchun ajralmas bo'lgan igna ishlarini Emin boshqa bir qator asarlarda ishlatgan. Keyinchalik ushbu buyum sotib olindi Charlz Saatchi va muvaffaqiyatli 1997 yilga kiritilgan Sensatsiya ko'rgazmasi da London Qirollik akademiyasi; keyin Berlin va Nyu-Yorkka ekskursiya qildi. U ham 2004 yilda Saatchining London sharqidagi omborida sodir bo'lgan yong'in natijasida yo'q qilingan.[44]

Jamiyat tomonidan tan olinishi

U paydo bo'lguncha Emin jamoat tomonidan noma'lum edi 4-kanal 1997 yildagi televizion dastur, "Rasm o'likmi". Namoyish o'sha yil haqidagi guruh muhokamasidan iborat edi Tyorner mukofoti va jonli efirda namoyish etildi. Eminning aytishicha, u mast bo'lgan, xushomad qilgan va tashqariga chiqmasdan oldin qasam ichgan. Suhbatdan: "Ular haqiqatan ham Angliyada hozir ushbu dasturni tomosha qilyaptimi, ular haqiqatan ham tomosha qilyaptimi, chindan ham tomosha qilyaptimi?"[45]

Mening karavotim Tracey Emin tomonidan

Ikki yildan so'ng, 1999 yilda Emin Tyorner mukofotining o'zi uchun qisqa ro'yxatga kiritildi va namoyish etildi Mening karavotim da Teyt galereyasi.[32]

O'rnatishning ko'rinadigan ahamiyatsiz va ehtimol gigienik bo'lmagan elementlari, masalan choyshabdagi sariq dog'lar, prezervativ, bo'sh sigareta paketlari va hayz ko'rgan dog'lar bilan tikilgan juftliklar haqida ommaviy axborot vositalarida katta e'tibor mavjud edi. To'shak bir necha kun davomida u erda bo'lganida, munosabatlardagi qiyinchiliklar tufayli o'z joniga qasd qilishni his qilganidek taqdim etildi.[46]

Ikki ijrochi rassom, Yuan Chay va Tszyan Jun Xi, etarlicha uzoqlashmagan deb o'ylagan ishni "yaxshilash" uchun yalang'och torsalar bilan karavotga sakradi.[47]

1999 yil iyulda, Eminning balandligida Tyorner mukofoti shuhrat, u jamoat va shaxsiy hayotidan ilhomlanib, bir qator monoprint rasmlarni yaratdi Malika Diana deb nomlangan mavzuli ko'rgazma uchun Diana ibodatxonasi Londonning Moviy galereyasida bo'lib o'tdi. Kabi asarlar Ular sizni yo'q qilishni xohlashdi (1999)[48] malika Diana bilan bog'liq bulimiya kabi ovqatlanishning buzilishi, boshqa monoprintlarda esa bu kabi mehrli matnlar mavjud edi Sevgi siz tomonda edi va malika Diananing tavsifi puflangan yengi bilan kiyinish. Boshqa chizmalar ta'kidlangan Boshqa odamlarga yordam berish uchun qilgan ishlaringiz Emin tomonidan chizilgan rasm yonida yozilgan Diana, Uels malikasi himoya kiyimida Angoladagi minalar maydonidan o'tayotganda. Boshqa bir ish - malika Diananing o'limi bilan bog'liq fitna nazariyalariga ishora qilgan "Sizni o'ldirganlarini bilish juda zo'r bo'ladi" (Eminning savdo belgisida imlo xatolari bilan) iborasi yoniga chizilgan atirgulning nozik eskizidir. Eminning o'zi rasmlarni tasvirlab berib, ularni "juda yaramas, yangi, sodda ko'rinishga ega rasmlar deb hisoblash mumkin" va "Men uchun emas, balki boshqa birov haqida rasm chizish juda qiyin. Ammo men juda ko'p fikrlarga ega edim "Menimcha, ular juda sentimental va bu erda hech qanday kinoyali narsa yo'q".[49]

Portret tomonidan Reginald Grey

Elton Jon va Jorj Maykl ikkalasi ham Maykl va uning sherigi bilan birga Eminning ishlarini yig'uvchilar Kenni Goss, ushlab turing Treysi Eminga hurmat 2007 yil sentyabr oyida ularning Dallasdagi muzeyi - Goss-Maykl fondi[50] (avvalgi Goss galereyasi).[51]

Bu galereyaning ochilish ko'rgazmasi bo'lib, unda Eminning katta adyoldan turli xil asarlari, video installyatsiyalar, bosmaxonalar, rasmlar va bir qator neon asarlari namoyish etildi.[52] shu jumladan maxsus neon qismi Jorj Kenni yaxshi ko'radi (2007), Emin tomonidan maqola yozganidan keyin ishlab chiqilgan ko'rgazmaning markaziy qismi bo'lgan Mustaqil 2007 yil fevral oyida xuddi shu nom bilan gazeta.[53] Goss va Maykl (2016 yil 25-dekabrda vafot etgan), Eminning 25 ta asarini sotib oldilar.[54]

Eminning san'atini qo'llab-quvvatlaydigan boshqa taniqli shaxslar va musiqachilar orasida modellar ham bor Jerri Xoll va Naomi Kempbell, kino yulduzi Orlando Bloom xayriya auksionlarida Eminning bir qator asarlarini sotib olgan[55] va estrada guruhi Temposhark, uning bosh qo'shiqchisi Eminning san'atini to'playdi, debyut albomini nomladi Ko'rinmas chiziq, Eminning kitobidan parchalar ilhomlanib Ruhni o'rganish.[56] Rok afsonasi Ronni Vud ning Rolling Stones Eminning yaxshi hujjatlashtirilgan do'sti, uning rasmlari Eminning ijodidan ilhomlangan.[57] 2004 yilda Emin taqdimot qildi Madonna bilan Buyuk Britaniya musiqiy shon-sharaf zali mukofot.[58]

Eminni taklif qilishdi Madonna "Ashcombe" dala mulki va uni qo'shiqchi shunday ta'riflagan: "Tracey aqlli va yarador va o'zini fosh qilishdan qo'rqmaydi". "U provokatsion, ammo aytadigan gapi bor. Men bunga aloqadorman."[59] Devid Boui, Eminning bolaligidan ilhomlanib, rassom bilan do'stlashdi. Boui bir paytlar Eminni "Uilyam Bleyk ayol sifatida yozgan Mayk Ley ".[60]

Kabi Jorj Maykl va Kenni Goss neon, Emin supermodel do'sti uchun noyob neon asar yaratdi Keyt Moss deb nomlangan Moss Kin. 2004 yilda ushbu noyob buyum sharqiy Londonda skipga tashlangan holda topilganligi haqida xabar berilgan edi. So'zlarni yozish uchun neon trubkadan iborat qism Moss Kin, xato bilan stakan yasagan ustaga tegishli bo'lgan podvaldan chiqarib yuborilgan. Ushbu asar hech qachon Moss tomonidan to'planmagan va shu sababli Emin Spitalfilds hududida foydalangan mutaxassis rassomning podvalida uch yil saqlangan. U usta harakatlanganda tasodifan tashlab yuborilgan.[61] Asarda ishlatilgan atama Kin bu Eminning o'zi uchun qadrdonlarni, uning yaqinlarini tasvirlash uchun takrorlanadigan mavzusi. Boshqa misollarni monoprint deb atash mumkin MatKin uning o'sha paytda sevgilisi bo'lgan rassomga bag'ishlangan Mat Collishaw va 1997 yilda akvintint cheklangan nashri sifatida chiqarilgan.[62] Emin yalang'och rasmini yaratdi Keyt Moss sifatida tanilgan Kate (2000), imzolangan va sanasi 2000 yil 1-fevral qalamda rassom tomonidan. 2006 yilda xuddi shu rasm cheklangan nashr sifatida chiqarilgan, ammo nomi o'zgartirilgan Kate Moss 2000 yil (2006).[63]

Stuckism

Stikistlar ga qarshi namoyish qilish uchun 2001 yilda Emindan chiqib ketish vositasidan foydalaning Tyorner mukofoti
Asosiy maqola: Stuckism

Eminning rassom va musiqachi bilan munosabatlari Billi Childish nomiga olib keldi Stuckism 1999 yildagi harakat. 1990 yillarning boshlarida uning kontseptualizmga bo'lgan yangi munosabatini masxara qilgan Childish, Eminga: "Sizning rasmlaringiz tiqilib qoldi, siz tiqilib qoldingiz! - Qattiq turib qoldingiz! Tiqilib qoldingiz!" (ya'ni san'atga YBA yondashuvini qabul qilmaslik uchun o'tmishda qolib ketgan). Hodisani u nashr etilgan "Xafa bo'lgan xotin uchun she'r" da nashr etgan Katta Xart va to'plar Asma kitoblar 1994 yil, undan Charlz Tomson, ikkalasini ham bilgan, keyinchalik Stuckism atamasini yaratdi.[64]

Emin va Childish 1999 yilgacha do'stona munosabatda bo'lishgan, ammo Stukistlar guruhining faoliyati uni xafa qildi va Childish bilan uzoq muddatli ziddiyatni keltirib chiqardi. 2003 yilgi intervyusida undan Stuckistlar haqida so'rashdi:

Bu menga umuman yoqmaydi ... Men bu haqda gapirishni xohlamayman. Agar sizning xotiningiz 18 yoshida u bilan aloqada bo'lgan kishi tomonidan ommaviy axborot vositalari orqali ta'qib qilinsa va uni ta'qib qilsa, buni xohlaysizmi? Men bilan shunday bo'ldi. Men buni kulgili deb bilmayman, biroz xasta deb bilaman va men uni juda shafqatsiz deb bilaman va shunchaki odamlar o'z hayotlarini davom ettirishlarini va mening hayotimni davom ettirishlarini istardim.[65]

Childish 2001 yilda Stuckist harakatini tark etdi.[66]

Modern Art Oksford (2002–03)

2002 yil noyabrdan 2003 yil yanvargacha Tracey Eminning shaxsiy ko'rgazmasi Bu boshqa joy bo'lib o'tdi Zamonaviy Art Oksford va muzeyning qayta ochilishini belgilab qo'ydi[67] va qayta nomlash Zamonaviy Art Oksford.[68] Ko'rgazma Eminning 1997 yildan beri birinchi Britaniya ko'rgazmasi bo'ldi.[67] Ko'rgazmada rasmlar,[69] kabi naqshlar, kino, neon asarlari Meni o'ldiringlar, shlaklar,[69] deb nomlangan keng ko'lamli yog'och iskala, shu jumladan haykallar Dushmanimni bilish,[69] qayta tiklangan yog'ochdan yasalgan tepada yog'och shashka bilan.[67]

Emin Oksfordda muzey direktori sifatida ko'rgazma o'tkazishga qaror qilganini izohladi Endryu Neyn har doim "mening ishimning katta yordamchisi" bo'lgan.[67] Ko'rgazma katalogi 50 ta illyustratsiyani o'z ichiga olgan: "uning hayoti, jinsiy tajribalari va uning istaklari va qo'rquvlarini aks ettiruvchi rasm va yozuvlar to'plami".[70]

Momart fire (2004)

2004 yil 24-may kuni a Momart Londonning Sharqiy qismidagi omborxona ko'plab asarlarni yo'q qildi Saatchi to'plami jumladan, Eminning mashhur chodiri, ilova qilingan harflar bilan, Men 1963-1995 yillarda uxlagan har bir odam ("Chodir") (1995) va Sizga aytgan so'nggi narsa meni bu erda qoldirmang ("Kulba") (1999), u Eminning rassom bilan birga sotib olgan ko'k yog'och plyaj kulbasi Sara Lukas va vaqtning sevgilisi galerist bilan bo'lishdi Karl Fridman. Emin yong'inda badiiy asarlarning yo'qolishi sababli, u jamoatchilikda hamdardlik etishmasligi va hattoki o'yin-kulgi sifatida qabul qilinganiga qarshi g'azab bilan gapirdi.[47] U quyidagicha izoh berdi: "O'tgan hafta [Iroqda] to'ylari bombardimon qilinganlardan va Dominikan Respublikasida 400 metr loy ostidan qazib olingan odamlardan xafa bo'ldim".[71]

Venetsiya biennalesi (2007)

2006 yil avgust oyida Britaniya Kengashi 52-da Britaniya pavilyoni uchun yangi va o'tmishdagi ishlarni namoyish etish uchun Eminni tanlaganliklarini e'lon qilishdi Venetsiya biennalesi 2007 yilda. Emin Biennaledagi Buyuk Britaniya uchun yakkaxon shou dasturini namoyish etgan ikkinchi ayol edi Rachel Whiteread 1997 yilda. Britaniya pavilyoni komissari Andrea Rouzning ta'kidlashicha, ko'rgazma Eminning asarlarini "xalqaro kontekstda va" YBA u mashhur bo'lgan avlod. ".[72][73]

Emin unvonni tanladi Qarz olgan nur[74] ko'rgazma uchun. U, ayniqsa, Britaniya pavilyoni uchun yangi asarlar yaratdi, turli xil vositalardan foydalangan - igna ishi, fotosurat va videodan tortib rasm, rasm, haykaltaroshlik va neongacha. Britaniyalik kengashning reklama lavhasida ko'rgazma uchun ilgari ko'rilmagan monoprint tasviri berilgan Yog'li Minge (1994) shouga kiritilgan, ammo Telegraf gazeta[75] yangi binafsha rangli neonning fotosuratini namoyish etdi Oyoqlar I (2007) namoyish etildi (to'g'ridan-to'g'ri Eminning 2004 yildagi binafsha rang akvarelidan ilhomlangan Binafsha Bokira ketma-ket). Emin Biennaledagi ko'rgazma ishini "Chiroyli va qattiq yadro" deb sarhisob qildi.[76]

Emin Bi-bi-si tomonidan Venetsiya biennalesi haqida intervyu oldi Kirsty Wark 2006 yil noyabrda. Emin Uorkga ba'zi tugallanmagan ishlarni namoyish etdi, ular orasida Eminning oyoqlari va qin rasmlari tushirilgan keng ko'lamli rasmlar mavjud edi. Dan boshlab Binafsha Bokira (2004) akril akvarel seriyali, kuchli binafsha cho'tka zarbalari bilan Eminning yalang'och ochiq oyoqlari tasvirlangan va bu Eminning 2005-6 yillarda rasmlariga sabab bo'lgan. Oyoqlari ochiq yolg'iz uxlash (2005), Reenkarnasyon (2005) seriyali va Masturbatsiya (2006) boshqalar qatorida ushbu asarlar uning badiiy ijodida muhim yangi o'zgarishlar bo'ldi.

Buyuk Britaniyadagi pavilyon komissari Andrea Rouz, bu Eminning yaratgan san'ati haqidagi izohga qo'shib qo'ydi: "Bu ajoyib xonimlarnikidir. Hech qanday garderob ishi yo'q, u erda pu bilan hojatxona yo'q - va aslida u juda etuk, deb o'ylayman. U rasmiy qadriyatlarga odamlar kutganidan ko'ra ko'proq qiziqadi va bu ushbu ko'rgazmada namoyish etiladi. Bu u bilan oshkora ish olib borgan. Treysi shoularni namoyish qilish va ularni osib qo'yish obro'si yaxshi emas, lekin u bilan ishlash orzusi edi. namoyishlari shundan iboratki, u YBA-lardan ancha uzoqlashdi. U aslida juda xonim! "[77]

Qirollik akademigi (2007)

2007 yil 29 martda Treysi Emin tomonidan Qirollik akademigi etib tayinlandi Qirollik san'at akademiyasi, R.A. Emin Qirollik akademiyasining a'zosi bo'ldi, shu jumladan elita rassomlari guruhiga qo'shildi Devid Xokni, Piter Bleyk, Entoni Karo va Elison Uaylding. Bu Eminga har yili o'tkaziladigan yozgi ko'rgazmada oltita asarni namoyish etish huquqini beradi.[78]

Emin ilgari R.A.da asarlarni qo'shishga taklif qilingan edi. 2007, 2006, 2005, 2004 va 2001 yillardagi Yozgi ko'rgazmalar. 2004 yilgi Yozgi ko'rgazma uchun Eminni hamkasbi Devid Xokni tomonidan ikkita monoprint yuborish uchun tanladilar. Va men bitta bo'lishni xohlardim (1997) va boshqasi Eminning aborti mavzusida Yirtilgan (1995), chunki o'sha yil mavzusi ijodiy jarayonning bir qismi sifatida rasm chizish san'atini ulug'lagan bo'lsa, 2007 yilda Emin neon asarini namoyish etdi farishta (2005). Uning san'ati birinchi bo'lib Qirollik akademiyasiga qo'shildi Sensatsiya 1997 yilda ko'rgazma.

2008 yil iyun oyida bo'lib o'tgan yozgi ko'rgazma uchun Emin galereyani boshqarishga taklif qilindi.[79] Emin, shuningdek, 2008 yil iyun oyida san'atshunos va teleradiokompaniyasi bilan suhbatda ommaviy nutq so'zladi Metyu Kollings, uning Qirollik akademiyasidagi roli, Akademiyaning zamonaviy san'at olami bilan aloqasi va rassom sifatida o'zining Yozgi ko'rgazmada galereyani osib qo'yish va boshqarish bo'yicha istiqbollari haqida o'ylab.[80] U o'zining 2009 yilgi Qirollik akademiyasining yozgi ko'rgazmasida o'zining taniqli "Kosmik maymuni - Biz ko'taramiz" nashrini namoyish etdi.[81]

Yigirma yil retrospektiv (2008)

Emin ishining birinchi katta retrospektivasi bo'lib o'tdi Edinburg 2008 yil avgust va noyabr oylari orasida[82] 40 mingdan ziyod mehmonlarni jalb qilish, buzish Shotlandiya milliy zamonaviy san'at galereyasi tirik rassomning ishi ko'rgazmasi uchun yozuv.[83]

Keng ko'lamli ko'rgazmada Emin kamdan-kam ko'riladigan dastlabki ishlardan tortib to ikonikagacha bo'lgan san'atining barcha turlari mavjud edi Mening karavotim (1998) va xona o'lchamidagi o'rnatish Men yaratgan so'nggi rasmning jirkanchligi (1996). Ko'rgazmada uning o'ziga xos aplike qilingan adyollari, rasmlari, haykaltaroshliklari, filmlari, neonlari, rasmlari va monoprintlari namoyish etildi. Shotlandiyaning zamonaviy zamonaviy san'at galereyasi Buyuk Britaniyadagi yagona namoyish bo'lib, keyinchalik Centro de Arte Contemporáneo-ga tashrif buyurdi. Malaga,[84] Ispaniya, keyin 2009 yildan Shveytsariyaning Bern shahridagi Kunstmuseumga.[85]

2008 yil 6-noyabrda Eminga katta haykal sovg'a qilgani haqida xabar berilgan edi Shotlandiya milliy zamonaviy san'at galereyasi "rahmat" sifatida[86] ham galereyaga, ham Edinburg shahriga. Ish chaqirildi Rim standarti (2005) 13 metr balandlikdagi (4,0 m) bronza ustundan iborat bo'lib, uning ustiga bronza bilan quyilgan kichkina qush tushgan. Asarning taxminiy qiymati kamida 75000 funtga teng.[83]

Sevgi siz xohlagan narsadir retrospektiv (2011)

2011 yil may-avgust oylarida Londonda bo'lib o'tgan yirik tadqiqot ko'rgazmasi Xeyvord galereyasi Eminning badiiy amaliyotining barcha jihatlaridan iborat bo'lgan,[87] rassom va uning ishlarining tez-tez e'tibordan chetda qoladigan qirralarini ochib berish.[88] Ko'rgazmada rassomlik, rasm chizish, fotosuratlar, to'qimachilik, video va haykaltaroshlik mavjud bo'lib, kamdan-kam ilgari ko'rilgan dastlabki ishlar bilan bir qatorda yaqinda amalga oshirilgan keng ko'lamli inshootlar ham mavjud. Emin, ayniqsa, ushbu yakka shou uchun yangi tashqi haykallar seriyasini yaratdi.[89]

Vanishing ko'li - Friz ko'rgazmasi (2011)

2011 yil 6 oktyabrda Emin Gruziya uyida saytga oid ko'rgazmani ochdi Fitzroy maydoni.[90] Sarlavha 1794 yilda Robert Adam tomonidan ishlab chiqilgan neoklassik uy uchun yaratilgan bir qator ishlar uchun katalizator bo'lib xizmat qilgan romanidan olingan. Ko'rgazmada Eminning qiziqishini davom ettirgan bir qator naqshli matnlar va qo'lda to'qilgan gobelenlar namoyish etildi. maishiy va qo'lda tayyorlangan an'analar.[iqtibos kerak ] Eminning o'zi aytgan: "Men buni shunday deb nomladim, chunki men o'zimning biron bir qismimni quritayotgan deb bildim, u erda yo'q va sevgi va ehtiros haqidagi barcha g'oyani, sevgi endi mavjud bo'ladimi, degan savolga javob berishni xohladim ... Nega? Men deyarli 50, men yolg'izman, chunki mening farzandlarim yo'q. "[90]

London 2012 Olimpiya va Paralimpiya o'yinlari

Emin bu erda ustoz edi BA Buyuk Britaniyaliklar dasturi.[91] Shuningdek, u uchun afishada va cheklangan nashrda chop etdi London 2012 yil Olimpiya va Paralimpiya o'yinlari, tanlangan 12 nafar ingliz rassomidan biri.[92] 2012 yil 19-iyulda Emin Olimpiya mash'alasini tug'ilgan shahri Margeyt orqali olib o'tdi.[93]

Badiiy ish

Monoprintlar

Eminniki monoprintlar uning ijodiy mahsulotining yaxshi hujjatlashtirilgan qismi. Ushbu noyob chizmalar diaristik jihatni aks ettiradi va o'tmishdagi voqealarni tez-tez tasvirlaydi, masalan: Kambag'al sevgi (1999), Jahannam haftasidan '94 yil (1995) va Yirtilgan (1995), bu abortdan yoki boshqa shaxsiy voqealardan keyin ko'rilgan travmatik tajriba bilan bog'liq Fikringiz Eddi (1995) va Nyu-Yorkdagi Sad Shower (1995), bu ikkalasi ham Teytning Emin san'ati to'plamining bir qismi.[94]

Ko'pincha ular matn bilan bir qatorda rasmni ham o'z ichiga oladi, biroq ba'zilari faqat matnni, boshqalari esa faqat rasmni o'z ichiga oladi. Matn rassomning ongi ovozi oqimi sifatida paydo bo'ladi. Ba'zi tanqidchilar Eminning yagona matnli monoprintlarini to'lov yozuvlari bilan taqqosladilar. Monoprintlarni tayyorlashda ishtirok etadigan tezkor, bir martalik uslub, Eminning chizilgan va norasmiy chizish uslubi singari, darhol ifoda etishga juda mos keladi. Emin ataylab yoki har bir rasm chizish tezligi tufayli so'zlarni tez-tez xato yozadi. 2002 yilgi intervyusida Lin Barber, Emin shunday dedi: "Bu yoqimli ta'sir emas. Agar men imlo qila olsam, unda men to'g'ri yozar edim, lekin men hech qachon o'rganishdan bezovtalanmadim. Shunday qilib, to'sqinlik qilishdan va yozishga qodir emasligimni aytishdan ko'ra, men shunchaki yozing va u bilan davom eting. "[95]

Emin 1997 yilda matn bilan monoprintlarning asosiy turkumini yaratdi Nimadir noto‘g‘ri[96] yoki Men bilan noto'g'ri bo'lgan narsa bo'lishi kerak[97] [sic ] katta bosh harflar bilan yozilgan imlo xatolari bilan yozilgan "bo'shliq bilan o'ralgan hayratomuz figuralar, ularning tasavvurlari sahifada mo'rt. Ba'zilari to'la tanalar, boshqalari faqat ayol torsolar, oyoqlari o'ralgan va qinidan g'alati, o'rgimchak oqimlari oqayotgan. Ular barchasi afsona bilan birga Noto'g'ri narsa bor."[98]

Boshqa asosiy monoprintlarga 1994 va 1995 yillarda "deb nomlanuvchi seriyalar kiradi Xotiradan rasmlar Eminning bolaligida jinsiy uyg'onish va o'sib-ulg'aygan boshqa voqealar haqidagi xotiralarini hujjatlashtirgan seriya Margate kabi Ittifoqdoshni sikish 16/5/95 (1995) va Xotiradan rasmlar, 1974 yil. Yashash xonasida (1994). Emin bundan tashqari, uning xotiralarini batafsil bayon qilgan monoprintlar to'plamini yaratdi Margate kabi ramziy binolar Margate Makoni 16/5/95 (1995), Lido 16/5/95 (1995) va Light House 15/5/95 (1995). 1994 yildagi boshqa rasmlarga quyidagilar kiradi Oilaviy Suite ketma-ketligi, qismi Shotlandiya milliy zamonaviy san'at galereyasi "Emin san'atidagi arxetipik mavzular: jinsiy aloqa, uning oilasi, abortlari va Margeyt" bilan 20 ta monoprintdan iborat to'plam.[99] Ushbu monoprintlar seriyasi birinchi marta 2008 yil avgustidan Edinburgdagi galereyada uning birinchi yirik retrospektivasi doirasida namoyish etildi, u " Yozgi blokbaster ko'rgazma.[100] Yana Oilaviy II to'plam Los-Anjelesda 2007 yil noyabrda Eminning Gagosian galereyasidagi yakkaxon namoyishi doirasida namoyish etildi.[101]

Ko'rgazmalarda Eminning monoprintlari kamdan-kam hollarda namoyish etiladi, ular ayniqsa kuchli hissiy qarama-qarshiliklarning kollektiv qismlari sifatida samarali. Emin turli xil ko'rgazmalar uchun xorijiy shaharlarga sayohat qilish paytida boshdan kechirgan qayg'u va yolg'izlik daqiqalarini hujjatlashtirgan bir nechta asarlarni yaratdi. Xayolim sizda (2005) va Vanna oq I (2005)[102] to'g'ridan-to'g'ri USA Mondrian mehmonxonasining ish yuritish materiallariga chizilgan bir qator monoprintlardan.[103] Eminning o'zi aytgan: "Rassom bo'lish shunchaki chiroyli narsalar qilish yoki sizning orqangizdan shapatilash emas; bu qandaydir aloqa, xabar".[104]

2009 yilda Emin kitob noshiri bilan birga Ritsoli nomli kitob chiqardi Ming rasm. Sarlavhadan ko'rinib turibdiki, kitobda Eminning 1988 yildan buyon ishlagan davridagi 1000 ta rasm mavjud. Kitob Eminning namoyishi bilan bir vaqtda nashr etilgan. Sevgidan azob chekayotganlar White Cube-da asosan rasmlar namoyishi bo'lib o'tdi.[105] Emin intervyusida "Biz aslida 2000 ga yaqin rasmlarni ko'rib chiqdik, so'ngra 1000 ta rasmni [kitob uchun] tanladik ... Men, ehtimol, o'sha vaqt ichida 4000 ta rasm chizganman", dedi.[106]

1990 yilda Emin homiladorlik paytida chizilgan onalar va bolalarning monoprint rasmlari 2010 yil qo'shma ko'rgazmasiga kiritilgan Paula Rego va Mat Collishaw da Ta'sis muzeyi.[107]

Kamdan kam namoyish etilgan Eminning do'stlari va oilasiga sovg'a qilingan monoprintlar namunalari o'ziga xos, ammo oshkora ishlarni tashkil etadi. Bular Eminning ishini eng xom va senzurasiz ko'rsatishi mumkin. Emin monoprintlarni shaxslarga, jumladan ukasi Pol Eminga sovg'a qilgan[108] va qo'shiqchi Mushuk Stivens (Yusuf Islom) u bilan Kipr merosini baham ko'radi.[109]

Rassomlik

Emin oltita kichik akvarelni namoyish etdi[110] unda Tyorner mukofoti 1999 yilda va uning Nyu-Yorkdagi shousida Qon ketishimning har bir qismi deb nomlanuvchi o'sha yili bo'lib o'tdi Berlin akvarel seriyali (1998). Ushbu nozik, yuvilgan, ammo rang-barang akvarellarga Eminning yuzining to'rtta portreti kiradi va ularning hammasi Emin tomonidan 1998 yilda Berlindagi hammomda cho'milayotgan rassomning polaroidlaridan tayyorlangan.[111] Ushbu seriyadagi har bir noyob rasm bir xil nomga ega, Berlin 1998 yil aprel oyida o'tgan hafta.[112] Teytning vakili Saymon Uilson, Eminning Berlinda joylashgan mayda akvarellar to'plamini "rasmlar yo'qligi haqidagi ayblovga dalil sifatida" qo'shganligini izohladi.[111] Tyorner mukofoti ko'rgazmalarida. Ushbu akvarellarda ko'rilgan hammom mavzusi keyinchalik Emin tomonidan o'zining fotosurat ishlarida qayta ko'rib chiqilgan Ba'zan men o'zimni go'zal his qilyapman (2000) va kabi monoprintlarda Vanna oq (2005) seriyali. Ushbu asarlarning barchasi bilan Emin a Meri Kassatt "xususiy daqiqada ayol" ning sifati.[iqtibos kerak ]

So'nggi bir necha yil ichida Eminning rasmga bo'lgan e'tiborini rivojlantirdi Binafsha Bokira (2004) akril akvarel seriyali binafsha rang cho'tka zarbalari, uning yalang'och ochiq oyoqlari tasvirlangan va bu kabi rasmlarga olib keladi. Oyoqlari ochiq yolg'iz uxlash (2005), Reenkarnasyon (2005) seriyali va Masturbatsiya (2006) va boshqalar.[iqtibos kerak ]

2005 yil may oyida Londonniki Kechki standart Gazetada Eminning rasmga qaytganligi haqida u o'zining oldindan ko'rgazmasida ta'kidladi Jinsiy aloqa haqida o'ylaganimda White Cube-da ko'rgazma. Boshqa asarlar yalang'och avtoportret rasmlari edi. Eminning so'zlari keltirilgan: "Ushbu shou uchun men chindan ham rasm chizishim mumkinligini ko'rsatmoqchi edim va ular haqiqatan ham shahvoniy rasmlar".[113]

Uning 2007 yilgi namoyishi uchun ishlang Venetsiya biennalesi oyoqlari va qinidan katta hajmdagi rasmlarni o'z ichiga olgan. Akvarel turkumi Binafsha Bokira qizlar ko'rsatildi. O'ntasi bor Binafsha Bokira jami asarlar, ulardan oltitasi Biennaleda namoyish etildi. Ularga o'xshash uslubdagi ikkita tuval qo'shilgan Men o'zimni qanday his qilaman deb o'ylayman 1 va 2.[iqtibos kerak ] Venetsiya biennalesi ham birinchi marta Eminga tegishli edi Abortdan akvarel 1990 yilda suratga olingan seriyalar hech qachon omma oldida namoyish etilmagan edi.[114]

Jey Jopling yangi Emin rasmini taqdim etdi, Rose Virgin 2007 yil 10 oktyabrda Londonning Regent bog'idagi Friz san'at yarmarkasida White Cube stendi doirasida. Eminning rasmlarida yana yangi rasmlar namoyish etilishi kutilmoqda. Meni nafasimni tark etdingiz 2007 yil 2-noyabrdan Los-Anjelesdagi Gagosian galereyasida bo'lib o'tgan ko'rgazma, yaqinda bo'lib o'tgan intervyusida "haykaltaroshlik va rasmlar ko'rgazmasi" deb ta'riflangan.[51] Bir qator yangi rasmlar, shu jumladan namoyish etildi Hayotingizning omadiga tayyor bo'ling (2007).[101]

San'atshunosning maqolasi Alastair Sooke, nashr etilgan Daily Telegraph, 2014 yil oktyabr oyida Eminning kontseptual qismlardan rasm va haykaltaroshlikka yo'nalishini o'zgartirganini muhokama qildi. Sukning ta'kidlashicha, Emin 2011 yilda Qirollik akademiyasining rasm chizish bo'yicha professori etib tayinlangan bo'lsa-da, Nyu-Yorkda bir necha yil davomida shaxsiy rasm chizish bo'yicha darslar olib boradi va u kamida uch yil davomida haykaltaroshlik darslarini olib boradi. Emin ham, Jey Jopling ham maqolaga izoh bermadilar.[115]

Fotosuratlar

Emin faoliyati davomida ko'plab fotosuratlar yaratgan, shu jumladan Monument Valley (Katta o'lchov) (1995–97)[116] va O'zimdan tashqarida (Yodgorlik vodiysi, "Ruhni o'rganish" o'qish) (1995)[117] 1994 yilda Eminning AQShga qilgan safari natijasida paydo bo'ldi. U va uning o'sha paytdagi sevgilisi, yozuvchi, kurator va galereya egasi. Karl Fridman, San-Frantsiskodan Nyu-Yorkka haydab, yo'lda to'xtab, 1994 yildagi kitobidan o'qish uchun, Ruhni o'rganish. Fotosuratda rassom yumshoq kresloda o'tirgani tasvirlangan Monument Valley, Yuta shtatining shimoliy Arizona bilan janubiy chegarasida, uning kitobini ushlab turgan ajoyib joy. Ochiq bo'lsa-da, u tomoshabinga qarayaptimi yoki oldidagi matnga qarayaptimi, aniq emas. Emin buvisidan meros bo'lib qolgan, u ham Emin san'atining bir qismiga aylangan stulda o'tirgan o'qishlarini o'tkazdi, Kreslolarda juda ko'p pul bor (1994)."[118]

Boshqa fotosurat asarlari asarni o'z ichiga olgan to'qqizta rasmlarni o'z ichiga oladi Yalang'och fotosuratlar - hayot modeli aqldan ozmoqda (1996) Stokin shahridagi Galleri Andreas Brändströmda maxsus qurilgan xonada Eminning rasm ishlashini hujjatlashtirgan. Boshqa fotosuratlar seriyasi, Do'stlarimning kiyimlarini kiyish (U ko'ylakni orqasidan oldi) (1997), rassom do'stlarining kiyimlarini kiyib, o'ziga xoslik masalalarini taklif qilmoqda.[iqtibos kerak ]

Kabi boshqa asarlar Men hammasini tushundim (2000) Eminni "oyoqlari qizil polga o'ralgan holda, banknotalar va tangalarni changalzoriga mahkam yopishgan holda namoyish eting. Jamoat va moliyaviy muvaffaqiyatlar davrida yaratilgan bu surat rassomning pul va muvaffaqiyatga bo'lgan istagi va uning shahvoniy istagi (uning roli) tanasi va hissiy hayotidan foydalanib, o'z san'atini (iste'mol ob'ekti) ishlab chiqarish uchun iste'molchi sifatida "",[118] esa Ba'zan men o'zimni go'zal his qilyapman (2000) Eminning hammomda yolg'iz yotganini tasvirlaydi. Ikkala asar ham uning "hayotidagi hissiy ahamiyatga ega bo'lgan daqiqalarni yozib olish va aks ettirish uchun o'zining keng ko'lamli fotosuratlaridan foydalanganligi, rassomlik martabasiga tez-tez murojaat qilganligi misolidir. Fotosuratlar sahnalashtirilgan sifatga ega, go'yo rassom ijro etmoqda. xususiy marosim. "[118]

Plyajdagi kulbada olingan Eminning ikkita avtoportreti, Sizga aytgan so'nggi gapim bu erda meni tark etmaydi (2000) va Sizga aytgan oxirgi narsa meni bu erda qoldirmang II (2000) diptych, garchi ular ko'pincha namoyish etilsa va alohida sotilsa. U va uning do'sti plyajdagi kulbada tizzalarida yalang'och Emin tasvirlangan Sara Lukas 1992 yilda Kentning Whitstable shahrida sotib olgan.[119]

Keyinchalik kulbaning o'zi haykalga aylandi Sizga aytgan so'nggi gapim meni bu erda qoldirmang (kulba) (1999). Ular muzey kollektsiyalarining bir qismidir, shu jumladan Tate Modern, Saatchi galereyasi va Milliy portret galereyasi va butun dunyo bo'ylab muzey do'konlarida sotiladigan postcartalar sifatida ommaviy ravishda ishlab chiqarilgan.[iqtibos kerak ]

Neon

Emin ham ishlagan neon chiroqlar. Bunday qismlardan biri Siz mening jonimni o'pishni unutgansiz (2001)[120] bu yurak shaklidagi neon ichidagi ko'k neonli so'zlardan iborat. So'zlardan yana bir neon parcha yasalgan Anal jinsiy aloqa qonuniymi (1998).[121] boshqasini to'ldirish uchun Qonuniy jinsiy aloqa anal (1998)[122]

Venetsiya Biennalesi uchun u yangi binafsha rangli neon asarlarini ishlab chiqardi, masalan, Oyoqlar I (2007).[123] Ushbu 2007 seriyali Oyoqlar neon asarlari to'g'ridan-to'g'ri ilhomlantirgan Binafsha Bokira (2004) akvarel seriyasi. Masalan, Oyoqlar IV (2007)[124] ning akvarel chizig'ini to'g'ridan-to'g'ri kuzatib boradi Binafsha Bokira 9 (2004). Paula Rego va Mat Collishaw bilan birgalikda 2010 yilda o'tkazilgan ko'rgazmada u asoschilar muzeyining old qismini "Poydevorlar va qushlar bu erning farishtalari" degan neon so'zlar bilan bezatdi.[107]

Emin neon ishlarini xayriya uchun kim oshdi savdosiga va 2007 yilda o'zining neonini sovg'a qildi Meni xavfsiz saqlang uning neon asarlaridan biri uchun 60,000 funtdan oshiq narxdagi eng yuqori narxga erishdi.[125] Yangi neon buyum deb nomlangan Siz bilan Men yashashni xohlayman Eminning bir qismi sifatida namoyish etildi Meni nafasimni tark etdingiz 2007 yilda Los-Anjelesdagi Gagosian galereyasida ko'rgazma.[126]

Mato

Emin mato bilan tez-tez applikatsiya shaklida ishlaydi - boshqa materialga tikilgan material (ko'pincha harflar bilan kesilgan). U matolarni pardalar, choyshablar va choyshablardan yig'adi va umrining ko'p qismida shunday qildi. U keyinchalik o'z ishida foydalanish uchun hissiy ahamiyatga ega bo'lgan bunday materialni saqlaydi. Uning ko'plab yirik dasturlari mehmonxona choyshabida ishlab chiqarilgan, masalan, Bu har doim azoblanadi (2005), Ba'zan men o'zimni juda yomon his qilyapman (2005), Vulqon yopiq (2001) va Helter Fucking Skelter (2001). Nafrat va kuch dahshatli narsa bo'lishi mumkin Teytning Emin asarlari to'plamining bir qismi (2004), qisman ilhomlangan keng ko'lamli adyoldir Margaret Tetcher due to her involvement in "an attack on 800 boys and men in the Argentinian navy" and other women for example women who steals their friends' boyfriends, Emin says of this work "about the kind of women I hate, the kind of women I have no respect for, women who betray and destroy the hearts of other women".[127]

Emin's use of fabric is diverse, one of her most famous works came from sewing letters onto her grandmother's armchair in There's A Lot of Money in Chairs (1994). The chair was very detailed, "including her and her twin brother's names, the year of her grandmother's birth (1901) and the year of her death (1963) on either side of the words another world, referring to the passing of time. An exchange between the artist and her grandmother using the nicknames they had for each other: ‘Ok Puddin, Thanks Plum’, covers the bottom front of the chair and a saying of Emin’s grandmother's, "There's a lot of money in chairs", is appliquéd in pink along the top and front of its back. Behind the chair back, the first page of Exploration of the Soul, handwritten onto fabric, is appliquéd together with other dictums such as, ‘It’s not what you inherit. It’s what you do with your inheritance’".[118]

Emin used the chair on a trip Emin made to the United States in 1994. Driving from San Francisco to New York stopping off along the way to give readings from her book, Exploration of the Soul (1994). Emin gave her readings sitting in the upholstered chair and "as she crossed the United States, the artist sewed the names of the places she visited – San Francisco, Los Angeles, San Diego, Las Vegas, Monument Valley, Detroit, Pittsburgh, New York – onto the front of the chair".[118] Emin also posed in the chair for two of her photographic works (see Photography) while in Monument Valley, in the Arizona Desert. It is currently on public display at Pallant House Gallery until 6 March 2011 as part of the exhibition, 'Contemporary Eye: Crossovers', pallant.org.uk. Retrieved 6 May 2016.

Emin has made a large number of smaller-scale works, often including hand sewn words and images, such as Falling Stars (2001), It Could Have Been Something (2001), Always Sorry (2005) va As Always (2005).[128]

On 13 April 2007, Emin launched a specially designed flag made out of fabric with the message One Secret Is To Save Everything written in orange-red letters across the banner made up of hand-sewn swimming sperm. Tracey Emin's flag, at 21 feet by 14 feet, flew above the Jubilee Gardens in the British capital until 31 July 2007, with the parliament building and the London Eye as backdrops. Emin called the artwork "a flag made from wishful thinking".[129] The flag was commissioned by the South Bank Centre in London's Waterloo.

In June 2007, on returning from the Venetsiya biennalesi, Emin donated a piece of artwork, a handsewn blanket called Star Trek Voyager to be auctioned at Elton Jon 's annual glamorous White Tie & Tiara Ball to raise money for The Elton John AIDS Foundation. The piece of artwork sold for £800,000.[130]

Emin's works on fabric has been related to other artists such as Luiza Burjua, who Emin actually mentions in a sewn work called The Older Woman (2005) with the phrase (monoprint on fabric), "I think my Dad should have gone out with someone older like Louise, Louise Bourgeois".[131] She was interviewed by Alan Yentob during the BBC's Tasavvur qiling hujjatli Spiderwoman about Louise Bourgeois, aired in the UK on 13 November 2007.[132]

Topilgan narsalar

Emin has often made use of topilgan narsalar in her work from the early use of a cigarette box found in a car crash in which her uncle died. The most well known example is Mening karavotim, where she displayed her bed. Another instance is the removal of her beach hut from Whitstable to be displayed in a gallery. This work was titled The Last Thing I Said To You Is Don't Leave Me Here (The Hut) (1999).[133] She revisited the theme of the bed in 2002, with the mixed media installation, To Meet My Past (2002),[134] another installation with a to'rtta plakat to'shagi with embroidered text such as Weird Sex va To Meet My Past hanging down alongside the mattress.[131]

She incorporated stones and rocks which had been thrown through her window in a mixed media piece in her 2005 show. The work consists of a monoprint of herself sitting on a chair with the stones lined up below the drawing in a vitrine. The Leg (2004) included a plaster cast inside a vitrine, kept by the artist after she broke her leg, exhibited alongside a C-print photograph of the artist wearing the cast.[135]

May Dodge, My Nan (1993) is also an installation piece that displays relics of personal items significant to Emin . Bu erda namoyish etildi White Cube in Emins first solo show My Major Retrospective.[136] May Dodge, My Nan encompasses five condiments separately framed and mounted to the wall in the exhibition. Consisting of A handwritten page of manuscript, two relics and lastly two photographs. [137]From left to right it views: Pasted onto a small paper doily is a magazine cut out of three kittens along with the caption too ‘Timmy, Leo and Squashie posing beautifully for the camera’.As well as a small piece of card stuck onto a piece of blue wool which dangles making the shape of a handle below. A coloured photo of past photo of Emin holding a kitten standing next to her grandmother May Dodge sitting at a table in a Kitchen. A black and white photo of both Emin as a little girl and May Dodge her grandmother standing in a garden in the 1960s. A handmade scented pomander that resembles a doll that Emin’s grandmother made. The relic made up of sections of soft knitted white cotton fabrics and lace gathered together over its scented stuffing and topped with a plastic doll’s head. And lastly the hand written note by Emin herself in blue ink.[138]

Haykaltaroshlik

In February 2005, Emin's first public artwork, The Roman Standard , a bronze sculpture, went on display outside the Oratory, adjacent to Liverpul sobori. It consists of a small bird perched on a tall bronze pole, and is designed so that the bird seems to disappear when viewed from the front. Bu tomonidan buyurtma qilingan BBC.[139] "Emin's work stands outside The Oratory, in Upper Duke Street just outside the Cathedral. The Roman Standard – which features a small bird on top of a four-metre high bronze pole – is a tribute to the city's famous symbol the Liver Bird. The sculpture was commissioned by the BBC as part of their contribution to the art05 festival and Liverpool's year as European Capital of Culture in 2008. Emin says the sculpture represents strength and femininity."[140]

In September 2008 she unveiled a neon work that was "installed in the well of the cathedral"[141] Emin herself says of her continuing relationship of making public sculptures in the town, "When Liverpool is Capital of Culture in 2008, I'll be making a large work for the Anglican Cathedral, which I'm really looking forward to."[140]

Other sculptures have included Death Mask (2002) which is a bronze cast of her own head. Emin loaned this work to the Milliy portret galereyasi in 2005,

The death mask, which enjoyed a popular revival in the nineteenth century, was a method for preserving the final expression and physiognomy of the famous or infamous, largely based on the belief that facial features and proportion could explain personal attributes such as genius or criminality. These likenesses were often produced and distributed in multiples as plaster casts could be taken from a bronze original.[iqtibos kerak ]Death Masks were most usually made of male subjects. The red appliqué fabric on which Emin's bronze head is placed refers to the frequent use of quilting and embroidery in her work, associated with the domestic sphere of women, which challenges masculine frameworks of history and art history. Emin, whose work is often based on images of herself, once commented "It is like they have seen my art by seeing me". In this work she offers herself in perpetuity as an enclosed specimen or museum display, literally transforming herself into an object for the scrutiny of generations to come.[142]

At Emin's 2007 Venetsiya biennalesi exhibition, as well as the central exhibition's Minora sculptures, tall wooden towers consisting of small pieces of timber piled together, a new small bronze-cast sculpture work of a child's pink sock was revealed Paypoq (2007) on display on the steps of the British Pavilion.[143] Her exhibition again attracted widespread UK media coverage, both positive and negative.[47]

In September 2007, Emin announced she would be exhibiting new sculpture work in the inaugural Folkestone Triennial which took place in the Kent town from June until September 2008. In June 2008 Emin discussed the Folkestone sculptures, stating the "high percentage" of teenage pregnancies in the Kent town had inspired this latest work.[144] Emin said her contribution would be different pieces placed around the town, "I'm going to be making very tiny bronze-cast items of baby clothing. It's baby clothes that I have found in the street, like a mitten or a sock."[145]

Emin's 2007 solo show at Gagosian galereyasi in Los Angeles' Beverly Hills[101] included brand new sculpture works described by Emin as, "some very strange little sculptures. They are nearly all of animals, apart from one, which is a pineapple. They rest on mini-plinths made in a really brilliant LA, beach, California, Fifties surfer kind of style. Different woods put together in cute pattern formations. In some places the wood is 18th-century floorboards, some bits of cabin from tall ships or things which could have been found on the seashore – driftwood."[146] The New York Times included Emin in a piece about artists who are "Originals", with a new photograph with two sculptures, one of a small bird on a thin stand and a large seagull, both sculptures placed on wooden plinths.[147] Gagosian further described the many different sculptures from the show as, "a group of delicate wood and jesmonite sculptures, which expand on the spirals, rollercoasters, and bridges of recent years. Others incorporate cast bronze figures – seagulls, songbirds, and frogs – or objects combining cement and glass, which are placed on tables or bundled bases made from found timbers."[148]

In late November 2007, it was announced that Emin was one of six artists to have been shortlisted to propose a sculpture for the fourth plinth in London's Trafalgar maydoni. The other shortlisted artists were Jeremy Deller, Antoniy Gormli, Anish Kapur, Yinka Shonibare va Bob and Roberta Smith – the professional name of Patrick Brill.[iqtibos kerak ]

The contenders were commissioned to produce a scale model of their idea. On 6 January 2008, it was revealed Emin's proposal was a lifesize model of a group of four meerkats, the desert mammal.[149] Nomlangan Something for the Future[150] it consisted of a sculpture of four meerkats "as a symbol of unity and safety" as "whenever Britain is in crisis or, as a nation, is experiencing sadness and loss (for example, after Malika Diana 's funeral), the next programme on television is 'Meerkats United.'"[151] The successful proposal were announced in 2008 as Gormley, whose project Bittasi va boshqasi occupied the plinth in summer 2009 and Shonibare, and whose work Nelson's Ship in a Bottle was unveiled in 2010.[iqtibos kerak ]

Emin’s latest project, commissioned by Oslo Municipality Art Programme, is a 7-metre-tall bronze sculpture, The Mother, to be unveiled on Museum Island, outside the new Munch Museum, when it opens in 2020. (http://www.themuseumisland.com/ ). From the jury’s assessment: ‘With its immediate and visceral artistic approach it appears both intimate and majestic, vulnerable and grandiose. The title The Mother refers to a mature protector and the sculpture brings to mind the ubiquitous motifs of women and the nude in Munch’s work. As a non‐idealised depiction of a woman made by a woman it can also be seen as a feminist statement.’

Film

  • Quiet Lives (1982), featuring Emin and boyfriend Billi Childish[152][to'liq iqtibos kerak ]—once available with Cheated va Room for Rent yilda A Hangman Triple Bill (shuningdek, nomi bilan tanilgan The Hangman Trilogy).[153][to'liq iqtibos kerak ][154][to'liq iqtibos kerak ]
  • Why I Never Became a Dancer (1995) is a single-screen projection with sound, shot on Super 8. Duration: 6 minutes, 40 seconds.[155] It was made in an edition of 10[156] and an edited transcript has been published by Tate.[157] The film portrays the artist's early adolescence in Margate, where she grew up. The film begins with the title written across a wall, and then features a montage of views which are significant to Emin's past, including her school, the seaside and shops. The artist's voice narrates her story, opening with, "I never liked school / I was always late / In fact I hated it / So at thirteen I left." The video's final scenes show Emin's involvement in a local disco-dancing competition, in an attempt to escape to London to take part in the British Disco Dance Championship 1978. The last two minutes of the film consist of Emin dancing exuberantly around an empty studio with the song Siz meni his qilasiz, tomonidan Silvestr along with a voice overed narration of her saying 'Shane, Eddy, Tony, Doug, Richard this one's for you'. [158][159][tushuntirish kerak ][iqtibos kerak ]

In the film, Emin describes leaving school at age 13 and spending her time on Margate's Golden Mile, dreaming and having sex. Sex "was something you could just do and it was for free". She was "13, 14" and having sex with men of "19, 20, 25, 26". In the film, the narration states: "It could be good, really something. I remember the first time someone asked me to grab their balls, I remember the power it gave me. But it wasn’t always like that; sometimes they’d just cum, and then they’d leave me there, wherever I was, half naked."[160] In the final scenes, the artist performs at a local dance competition and people begin to clap. A gang of men, "most of whom [the artist] had sex with at one time or another"[160] began to chant "slag, slag, slag".[160]

Bilan intervyuda Melvin Bragg, Emin commented on the incident: "I don’t see why I was such a slag. All I did was sleep with a few people. It’s not a crime, I didn’t kill anyone."[161]

  • How It Feels (1996)
  • Tracey Emin's CV Cunt Vernacular (1997), an autobiographical work in which Emin narrates her story from childhood in Margate, through her student years, abortions and destruction of her early work.[iqtibos kerak ]
  • Homage to Edvard Munch and all My Dead Children (1998)
  • Sometimes the Dress Is Worth More Money Than the Money (2001). ICA.[tushuntirish kerak ][to'liq iqtibos kerak ]
  • Top Spot (2004), a feature-length non-fiction production mixing DV footage and Super 8 film into a montage. The title, "Top Spot", refers to a youth centre/disco in Margate, as well as being an explicit sexual reference.[iqtibos kerak ]

Emin has described Top Spot as being "about the moment of... understanding that you are walking into an adult world which means sex, which means often violence, which means that you may suddenly have some perspective on your own life that you never had before."[33] Top Spot was given an 18 certificate by the British Board of Film Classification, much to Emin's dismay, as she intended the film for a teenage audience.[33][162]

Emin withdrew the film from general distribution in cinemas after it was rated with an 18 certificate.[163] It was broadcast on BBC3 television in the UK in December 2004,[164] and a DVD of the film was released in 2004.[iqtibos kerak ]

O'rnatish

Emin has created a number of installation art pieces including Poor Thing (Sarah and Tracey) (2001) which was made up of two hanging frames, hospital gowns, a water bottle and wire. A similar installation called Feeling Pregnant III (2005) made up of fabric hung off wooden and metal coat hangers and stands was a later creation for Emin. Both these installations touch further on Emin's relationship with pregnancy and abortion and can be related to Luiza Burjua ' sculptures such as Nomsiz (1996), a mobile of hanging clothes, and Nomsiz (2007), a series of standing bronze sculptures.

The Perfect Place to Grow (2001) was a video installation with a set consisting of a wooden birdhouse, a DVD (shot on Super 8), monitor, trestle, plants, wooden ladder. This installation has been exhibited at the Tate Britain in 2004 in their room dedicated to Emin's work and also White Cube in 2001. It was dedicated to her father, creating the bird house as a tiny home for my dad and Emin thought of the works' title from the idea of nature and nurture.[165]

Knowing My Enemy (2002) was a large-scale installation created by Emin for her Modern Art Oxford solo show of that year. Consisting of reclaimed wood and steel, Emin created a wooden "look-out" house upon a long, broken, wooden pier. It's Not the Way I Want to Die (2005) was another large-scale installation, part of Emin's 2005 solo show at White Cube. Emin created a large rollercoaster track with reclaimed timber and metal. Displayed in the same show was a smaller installation work called Avtoportret (2005) which consisted of a tin bath, bamboo, wire and neon light.[166] Another related installation Sleeping With You (2005) consisted of painted reclaimed timber and a thin neon light across a dark wall.[131]

Tanlangan nashrlar

The following books or book chapters have been authored by Emin:

  • Exploration of the Soul (1994).[to'liq iqtibos kerak ] Limited edition, 200 copies, signed inside, with two original colour photographs,[iqtibos kerak ] provided in a hand-sewn white cloth bag with the two coloured cloth letters "TE" hand sewn in various colours.[iqtibos kerak ]

An autobiographical short story covering Emin's conception through her life at age 13. Re-released in 2003, in an edition of 1000 by Counter Editions, though without the photographs and cloth bag.[iqtibos kerak ]

  • —, Brown, Neal; Kent, Sarah & Collings, Matthew (1998). Treysi Emin (London: Jay Jopling/White Cube, 1998); ISBN  0-9522690-2-3.
  • Treysi Emin (2002), Booth-Clibborn.[to'liq iqtibos kerak ]
  • The Is Another Place (2002). Oxford: Museum of Modern Art, Oxford, Limited edition, 2002; ISBN  1-901352-15-3.
  • Details of Depression (2003). Counter Editions, Cyprus/London,[to'liq iqtibos kerak ] with author appearing as Tracey Karima Emin, limited edition, stamped on back cover.[iqtibos kerak ] Brought together an ancient Arabic poem and a series of photographs taken around the northern part of Cyprus.[iqtibos kerak ]
  • G'alati (2005). London: Scepter5. ISBN  0-340-76944-0. Emin's memoir, divided into three sections ("Motherland", "Fatherland" and "Traceyland"), written in the first person, and conveying her life from childhood.[iqtibos kerak ] Jeanette Winterson wrote: "Her latest writings are painfully honest, and certainly some of it should have been edited out by someone who loves her."[167] Emin's editor for Strangeland was the British novelist Nicholas Blincoe.[iqtibos kerak ] This book also attracted considerable media coverage, and Billy Childish publicly questioned some of its accounts in newspaper articles.[47]
  • I Can Feel Your Smile (2005). New York: Lehmann Maupin.[to'liq iqtibos kerak ]
  • Tracey Emin: Works 1963 – 2006 (2006). London: Rizzoli. ISBN  0-8478-2877-8.
  • Borrowed Light: the British Pavilion, Venice Biennale 2007 (2007). London: British Council. ISBN  0-86355-589-6.
  • You Left Me Breathing (2008), Gagosian.[to'liq iqtibos kerak ]
  • One Thousand Drawings (2009), Rizzoli.[to'liq iqtibos kerak ]
  • Monoprint Diaries (2009), White Cube.[to'liq iqtibos kerak ]
  • Those Who Suffer Love (2009).[to'liq iqtibos kerak ] A selection of Tracey Emin's GQ poems, with accompanying drawings.[iqtibos kerak ]
  • Love Is What You Want (2011).[to'liq iqtibos kerak ] A survey of work from Emin's major show at the Xeyvord galereyasi Londonda.[iqtibos kerak ]
  • My Life in a Column (2011).[to'liq iqtibos kerak ]

Miscellaneya

A poster she photocopied and put up around her home when her cat Docket went missing became an object collected by people, but was excluded by Emin from her canon.[168]

In 2000, Emin was commissioned, as part of a scheme throughout London titled Art in Sacred Spaces,[169] to collaborate with children on an artwork at Ecclesbourne Primary School in Islington, north London. Pupils made the piece with her in Emin's style of sewing cut out letters onto a large piece of material. In 2004 the school enquired if Emin would sign the work so that the school could sell it as an original to raise funds. They planned to auction the piece for £35,000 for an arts unit,[170] as it could not afford to display the large work. Emin and her gallery White Cube refused saying that it was not a piece of her art, therefore reducing its value, and requested it be returned.[171] But Emin quickly came to an agreement with the school, where she paid £4,000 to create a perspex display box for the patchwork quilt to be showcased. Taking as her theme the title "Tell me something beautiful", Emin invited eight-year-olds to nominate their ideas of beauty and then to sew the keywords in felt letters on bright fabric squares. The resulting bold patchwork featured words such as "tree", "sunrise", "dolphin" and "nan".[172]

Art critic John Slyce, who has worked on school collaborations with artists, supported Emin and White Cube's decision saying, "This is a horrific precedent for the school to try to set. They were lucky to have an artist of that stature spending that amount of time with them ... the artwork should remain in context with the kids. Children's primary experience of art should not be as a commodity."[169]

Emin and feminism

Tracey Emin is one of just two women professors to be appointed at London's Royal Academy of Arts since the Academy was founded in 1768.[173] In February 2013, she was named as one of the 100 most powerful women in the United Kingdom by Woman's Hour on BBC Radio 4.[174]

In response to the question "[D]oes society sufficiently value women artists?", Emin answered, "No. Of course not. But it's changing slowly. We probably just need another 200 years."[175]

Emin does not overtly appear as a feminist artist, nor does she believe so herself. In an interview with Schirn Kunsthalle Frankfurt, Emin stated that she is a feminist, but not a feminist artist.[176]

Emin discusses sexism from the viewpoint of the being a female victim. Though Emin's subversion of feminine stereotypes, Sophie Lloyd in her article describes her work as, "…[embodying] a change in perception of female sexuality that was in line with third-wave feminism, with women defining beauty and sexuality on their own terms."[160] By narrating such harrowed and tortured memories, Emin uses vulnerability to tell not only her own struggles, but the struggles that many women may face while finding themselves.[160]

Emin openly discusses her 1998 installation Mening karavotim for audiences and interviewers alike. She has been as saying that, "By realizing how separate I was from it, I separated myself from the bed. I wasn't there any more."[177] This notion of a female using the domestic space and then removing herself from the environment, thus confronting stereotypes and taboos in a confessional work was a controversial event. Feminists critics have described Emin as using the historical notion of the bedroom and its importance for female experiences, as a site for crude intervention.[178]

John Molyneux explains in his article Emin Matters, that her work revolves around class, sex and art itself. He writes that, "What she does do is present herself as culturally working class…She makes no attempt to engage in 'intellectual art speak' but sticks to unaffected everyday language," employing a strategy that doesn't place her in authority over her viewers or peers.[179] However, her class background contradicts this tactic of equal understanding. Emin's mother until age seven owned a hotel in Margate, but bankruptcy and poverty ensued only when she broke up with Emin's father.[179] While she may use street language, swear words, grammatical errors and misspellings to convey a primarily middle-class female experience, Emin now functions as a boss of her own art business and exists within the elite upper class.[179] Her relationship with sex is a major theme and aspect of her work. Feminist writers have reviewed Emin's pieces as containing, "…no element of eroticism or titillation…unlike in Botticelli, Renoir or Klimt. Nor is it sexual fantasy or dreams, as we might find in surrealism, or the sex of the brothel featured so heavily in late 19th-century French art. It is real, everyday sex—as experienced by her, of course, but also by millions of other people".[179]

Confessional nature of Emin's work

While studying painting at the Royal College of Art Emin became disenchanted with the art of painting, "the idea of being a bourgeois artist, making paintings that just got hung in rich people's houses was a really redundant, old fashioned idea that made no sense for the times that we were living in."[180] She felt there was no point in making art that someone had made decades or centuries before her, "I had to create something totally new or not at all". When asked by a reporter, when she decided that her life 'as Tracey Emin' was going to be her art, she replied '"I realised that I was much better than anything I'd ever made".[180]

Roberta Smith of Nyu-Yorker says the following about Tracey's work: "In her art she tells all, all the truths, both awful and wonderful, but mostly awful, about her life. Physical and psychic pain in the form of rejection, incest, rape, abortion and sex with strangers figure in this tale, as do love, passion and joy."[181]

Musiqa

In 1998, Emin duetted with pop singer Bola Jorj on a song called "Burning Up", released on an 18 track audio CD that accompanied the book We love you.[182]

In 2005, Emin compiled a CD of her favourite music called Music To Cry To, which was released and sold by the UK household furnishings retailer and brand Habitat.[183]

In 2009, Emin designed the album artwork for a release by singer/songwriter Harper Simon, o'g'li Pol Simon. The front cover depicts an aeroplane, drawn in Emin's scratchy monoprint style.[184]

Sog'liqni saqlash

In Spring 2020 Emin was diagnosed with bladder cancer.[185] She underwent an operation to remove her bladder and several adjacent organs (radical cystectomy ) in Summer 2020 and this left her in remission, but with a stoma.[186]

Xayriya ishlari

Emin is well known for her charity work; she has raised over a million pounds for children's charities such as the NSPCC and for HIV/AIDS charities including the Terrence Higgins Trust. She frequently donates original artworks for charity auctions, and has often adopted the role of auctioneer on the charity night to help increase the highest bid.[iqtibos kerak ]

In June 2007, on returning from the Venetsiya biennalesi, Emin donated a piece of artwork, a handsewn blanket called Star Trek Voyager to be auctioned at Elton Jon 's annual glamorous White Tie & Tiara Ball to raise money for The Elton John AIDS Foundation. The piece of artwork sold for £800,000.[130] Also in June 2007, Emin's neon work Keep Me Safe reached the highest price ever (at that time) made for one of her neon works of over £60,000.[125]

Emin has participated in Mustaqil newspaper's Christmas Appeal for many years, where she has offered for auction bespoke artworks and also drawing lessons with the artist. In December 2006, her lot raised £14,000 for a one-on-one drawing lesson, over champagne and cake, with the artist.[187] The following year, in December 2007, her lot raised £25,150 for their appeal offering a special unique drawing of the highest bidder's pet embroidered onto a cushion in Emin's trademark style.[188]

In January 2008, Emin went to Uganda where she had set up the brand new "Tracey Emin Library" at the rural Forest High School. She explained in her newspaper column, "Schools here don't have libraries. In fact, rural areas have very little. Most have no doctor, no clinic, no hospital; schools are few and far between. Education cannot afford to be a priority, but it should be... I think this library may be just the beginning."[189]

Yoqilgan sevishganlar kuni 2008, Emin donated a red, heart-shaped neon artwork called I Promise To Love You (2007) for a charity auction to raise money for The Global Fund, which helps women and children affected by HIV/AIDS in Africa. The auction was called (Auction) RED. The work sold for a record price $220,000,[190] which was much higher than the guide estimates of between $60,000 and $80,000.[iqtibos kerak ]

Siyosiy faoliyat

Emin has been a critic of Britain's income tax regime, stating "I'm simply not willing to pay tax at 50%", she is "very seriously considering leaving Britain", and suggests she will live in France. "The French have lower tax rates and they appreciate arts and culture."[191][192] Emin has since denied that she intends to leave the country, stating that a journalist she spoke to previously exaggerated her comments, and that London is her home, and is the context in which she belongs.[193][194][195]

Mustaqil newspaper reported in August 2010 that Emin is thought of as a supporter of the Konservativ partiya.[196]

Bilan intervyuda Yangi shtat arbobi she revealed that she voted for the Conservatives at the 2010 General Election, adding, "We've got the best government at the moment that we've ever had."[197] She has stated that she is an 'outsider' in the art world, as a result of voting Conservative. U a Royalist.[198]

In April 2014, Emin, who has a home and studio in Spitalfields, publicly called to save an East London newsagent who faced eviction from Eski Spitalfild bozori, after 22 years in business. She started a petition to save newsagent Ashok Patel's business, which has been signed by 1,000 people.[199]

In August 2014, Emin was one of 200 public figures who were signatories to a letter to The Guardian sentyabr oyida Shotlandiya Buyuk Britaniyaning bir qismi bo'lib qolish uchun ovoz berishiga umid qilishlarini bildirishdi ushbu masala bo'yicha referendum.[200]

Mukofotlar va sharaflar

In 2007, London's Royal Academy of Arts elected Tracey Emin as a Royal Academician and four years later, the Academy appointed Emin a Professor of Drawing. The University of Kent also awarded Emin an honorary doctorate in 2007.[32]

Emin was appointed Britaniya imperiyasi ordeni qo'mondoni (CBE) in the 2013 New Year Honours for services to the arts.[201][202] In February 2013, she was named one of the 100 most powerful women in the United Kingdom by Ayol soati kuni BBC radiosi 4.[203]

Art market

Emin's primary galleries are White Cube in London (since 1993), Lorcan O'neill in Rome and Xavier Hufkens Bryusselda.[204] In 2017, Emin and Lehmann Maupin ended their working relationship.[205]

Charlz Saatchi, who was best known as the most high-profile, high-spending collector of contemporary British art, bought Mening karavotim (1998) for £150,000 ($248,000) from Lehmann Maupin's "Every Part of Me's Bleeding," the exhibition that won the artist a nomination for the 1999 Tyorner mukofoti.[204][206] In 2013, on the occasion of a Christie's London sale that raised a total of 3.1 million pounds ($5 million) in aid of the Saatchi galereyasi 's policy of free entry, To Meet My Past (2002) sold for $778,900, establishing a new record for the artist.[207] At another Christie's auction in 2014, Mening karavotim was sold to White Cube founding director Jey Jopling[208] for 2.5 million pounds, including buyer's commission, once again to benefit the Saatchi Gallery's foundation.[209] It was estimated that the price of Mening karavotim would sell between 800,000 and 1.2 million pounds.[206][210] Before the sale, Emin said that "what I would really love is that someone did buy it and they donated it to the Tate."[210]

An earlier auction record, set at Christie's, London, in December 2010, was £130,000 (bolg'a narxi ), paid for the appliqué blanket It's The Way We Think (2004).[211] Her most commonly auctioned sculptural works are phrases in her own handwriting set in neon, usually issued in editions of three, with two artist's proofs.[204] Among her neon works, only one has ever fetched more than £100,000, the red neon light installation I promise to love you, which fetched £102,040 (US$200,000) at Sotheby's, New York, in February 2008.[iqtibos kerak ]

Works on paper, mainly depicting the artist herself, have appeared at auction since 1997 and garnered up to £46,850 ($75,000), the sale price for the gouache Deep Blue III (2011), at Christie's London in 2013.[204]

In 2011, British Prime Minister Devid Kemeron added an artwork with 'more passion' in neon by Emin in his private apartment at Dauning ko'chasi, 10-uy.[212]

In April 2014, Emin participated at The Other Art Fair for unrepresented artists.[213]

Shuningdek qarang

Adabiyotlar

  1. ^ (22 April 2013). Cultural exchange with Tracey Emin. Old qator (BBC Radio 4). Olingan 15 aprel 2020 yil.
  2. ^ (nd). Tracey Emin. The Perfect Place to Grow, (2001). Tate website. Olingan 15 aprel 2020 yil.
  3. ^ Geneviève, Roberts. "Tracey Emin is made Royal Academician". Olingan 10 may 2016.
  4. ^ (12 September 1997). Sensation at the Royal Academy of Arts, London (press release mentioning Emin). artdesigncafe. Olingan 15 aprel 2020 yil.
  5. ^ (18 March 2005). Tracey Emin – Artist. The Hitchhiker's Guide to the Galaxy (veb-sayt). Olingan 15 aprel 2020 yil.
  6. ^ Jons, Jonatan. (2016 yil 16 sentyabr). Tracey Emin makes her own crumpled bed and lies in it, on Merseyside. The Guardian. Olingan 15 aprel 2020 yil.
  7. ^ Viktoriya va Albert muzeyi. "Tracey Emin. Evening Talks". Viktoriya va Albert muzeyi. Arxivlandi asl nusxasi 2010 yil 28 mayda. Olingan 25 noyabr 2010.
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Qo'shimcha o'qish

  • Elliot, Patrik va Shnabel, Julian. Treysi Emin: Yigirma yil (Shotlandiya milliy galereyalari, 2008); ISBN  978-1-906270-08-7.
  • Jigarrang, Nil. Treysi Emin (Teytning zamonaviy rassomlari seriyasi) (London: Teyt, 2006); ISBN  1-85437-542-3.
  • Doyl, Jennifer. Jinsiy aloqalar: San'at va istak dialektikasi (Minneapolis: University of Minnesota Press, 2006); ISBN  0-8166-4526-4.
  • Merk, Mendi va Taunsend, Kris (tahrir). Treysi Eminning san'ati (London: Temza va Xadson, 2002); ISBN  0-500-28385-0
  • Remes, Outi. "Yomon ta'mdan keyin: Treysi Eminning abort qilish va boshqa iqrorliklar bo'yicha ishi" Xarris, Jonathan (tahr.), Chapman birodarlar dunyosidagi ortiqcha va apokalipsisni o'lim haydovchisi ichida (Liverpool: Liverpool University Press and Tate Liverpool, 2010), 119-43 betlar; ISBN  978-1-84631-192-5.
  • Remes, Outi. "Eski stereotiplarni badiiy rolga qaytarish: Treysi Eminning ishi" Ayollar tarixi sharhi (18-jild, № 4, 2009 yil sentyabr), 561-77-betlar.

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