Alina Cohen (30. juli 2018). «Tracey Emin’s “My Bed” Ignored Society’s Expectations of Women». Artsy. Besøkt 25. oktober 2021. «She conceived of the installation, titled My Bed (1998), after a long, bedridden bender following a bad break-up. When Emin finally left her sheets, she examined the mess she’d created. Crumpled tissues, period-stained clothing, cigarettes, empty vodka bottles, a pregnancy test, lubricant, and condoms surrounded her bed. She decided it was a work of art.»
barnebys.com
Sophie Bubmann (7. august 2020). «Tracey Emin: Shockingly Personal». Barnabys Magazine. Besøkt 25. oktober 2021. «Emin’s past was what urged her to create the piece that made her rise to fame. Everyone I’ve ever slept with (1963-1995) (1995) was a small tent that contained all the names of people with whom Emin had ever shared a bed. This very intimate piece of art also contained the names of her two unborn fetuses. The work caught the attention of Charles Saatchi when it was shown at the group exhibition organized by Carl Freedman. From then, Saatchi began to purchase her works. Of course, the tent infuriated some of her previous lovers and one of them decided to sell Emin’s love letters that she had written to him when she was fourteen and he was twenty-two. Unfortunately, the tent and her work The Last Thing I Said to You is Don't Leave Me Here (2000) were destroyed during a fire at Saatchi’s warehouse.»
Sophie Bubmann (7. august 2020). «Tracey Emin: Shockingly Personal». Barnabys Magazine. Besøkt 25. oktober 2021. «1992 was an important year for the artist. It was when she met and started a romantic relationship with artist Sarah Lucas. At this point, Emin destroyed all of her artwork, including personal photographs and a packet of cigarettes that her uncle held when he was decapitated during a car crash, which was included in her first solo exhibition at White Cube in Bermondsey, London. She left her studio and launched a new venture with Lucas called The Shop, which was located on Brick Lane and examined art as a commodity and held group exhibits with artists such as Damien Hirst. The Shop had a great impact on the way commercial art was perceived as they were open 24 hours and sold everything from art to t-shirts to sex toys. In the evenings The Shop was used as an after-pub party venue. Their business and romantic relationship only lasted six months when Lucas left Emin.»
bbc.co.uk
www.bbc.co.uk, besøkt 3. desember 2024[Hentet fra Wikidata]
Encyclopædia Britannica Online, Encyclopædia Britannica Online-ID biography/Tracey-Emin, besøkt 9. oktober 2017[Hentet fra Wikidata]
Kathleen Kuiper. «Tracey Emin». Britannica. Besøkt 25. oktober 2021. «n 1999 she became a finalist for the Turner Prize with the installation My Bed (1998), which displayed not only the artist’s actual bed but also rumpled bedclothes and what one critic called “uncomfortably personal debris,” including soiled underwear, empty liquor bottles, and used condoms. That work, like many others made by YBAs, was purchased by advertising mogul and art collector Charles Saatchi, and it was among some 200 works of art he would donate to the creation of the Museum of Contemporary Art London in 2012.»
Kathleen Kuiper. «Tracey Emin». Britannica. Besøkt 25. oktober 2021. «She represented Great Britain in 2007 at the Venice Biennale with the show “Borrowed Light,” which included some neon pieces and embroidery as well as a series of watercolours and sculptures. She joined the ranks of Zaha Hadid, Anish Kapoor, David Hockney, and many others when she was elected a Royal Academician (“among the greatest names in contemporary British art”) that same year. In addition, Emin was made Commander of the Order of the British Empire (CBE) in 2013.»
Kathleen Kuiper. «Tracey Emin». Britannica. Besøkt 25. oktober 2021. «She dropped out of school at age 13 and moved to London at 15. Two years later she attended Medway College of Design (now part of the University for the Creative Arts), Rochester, where she studied fashion. She was accepted without a secondary-school certificate at nearby Maidstone College of Art (also now part of UCA) and earned a fine-arts degree in 1986. Thereafter she obtained a master’s degree in painting (1989) from the Royal College of Art in London»
christies.com
«TRACEY EMIN’S MY BED ON THE MARKET FOR THE FIRST TIME»(PDF). Christie's. 28. mai 2014. Besøkt 25. oktober 2021. «Following its exhibition in Japan and her solo show at Lehmann Maupin Gallery, New York in 1999, My Bed (1998) was exhibited at the Tate Gallery,»
Benezit Dictionary of Artists, «Tracey Emin», Benezit-ID B00300028[Hentet fra Wikidata]
frieze.com
James Roberts (8. juni 1995). «Minky Manky». Frieze. Besøkt 25. oktober 2021. «One of the few pieces that actually looks like it has come from a life that is not wholly concerned with being a professional artist is Tracey Emin's Everyone I Have Ever Slept With 1963-1995 (1995). This piece, perhaps Emin's most resolved work to date, comprises a tent whose interior is plastered with the names of all those the artist has slept with - in every sense - and is far less voyeuristic than earlier, more directly autobiographical work. The object itself and, more evocatively, its peculiar musty smell, bring out a thousand childhood and adolescent memories of travel, holidays, private spaces and intense experience in a way that allows the viewer's own memory to mingle with the artist's rather than be overwhelmed by it.»
imagejournal.org
Morgan Meis. «The Empty Bed: Tracey Emin and the Persistent Self». Image Journal. Besøkt 25. oktober 2021. «THIS ALL HAPPENED IN 1998. A youngish woman, an artist, was at home in her council flat in the Waterloo neighborhood of central London. Council flats, you should know, are basically a British version of public housing. The woman’s name was Tracey Emin. She was having a lousy week.»
independent.co.uk
«Tracey Emin: Growing up is hard to do». Independent. 17. september 2011. Besøkt 25. oktober 2021. «Like all of Emin's work, the film is heavily autobiographical. "I wanted to work through some things and I wanted to make something that I thought would be of some use [to others]." The title refers to the Margate nightclub that Emin left one night when she was 13, and was then raped nearby.»
khanacademy.org
Rose Aidin. «The YBAs, The London-based Young British Artists». Besøkt 25. oktober 2021. «this small group of London-based artists, who came to prominence in the nineties, changed the international art world»
kunstsamlingen.no
«Et nytt byrom i Bjørvika». Oslo kommunes kunstsamling. Besøkt 25. oktober 2021. «I forbindelse med etableringen av det nye Munchmuseet ble det avsatt midler gjennom Oslo kommunes kunstordning til et kunstprosjekt. Blant syv konkurranseforslag fra de nasjonalt og internasjonalt anerkjente kunstnerne Matias Faldbakken, Tracey Emin, A K Dolven, Cristina Iglesias, Olafur Eliasson, Ragnar Kjartansson og Adrián Villar Rojas, har juryen enstemmig vedtatt at Tracey Emins The Mother skal oppføres på museumsutstikkeren ved siden av det nye Munchmuseet.»
moma.org
Museum of Modern Arts online samling, MoMA kunstner-ID 7545, besøkt 4. desember 2019[Hentet fra Wikidata]
«Bed». Moma learning. Besøkt 25. oktober 2021. «Bed is one of Rauschenberg’s first combines, a term he coined to describe the works resulting from his technique of attaching found objects to a traditional canvas support. In this work, however, there is no canvas. The artist took a well-worn pillow, sheet, and quilt, scribbled on them with pencil, splashed them with paint in a style similar to Jackson Pollock’s action paintings, and hung the entire ensemble on the wall.»
munchmuseet.no
«TRACEY EMIN / EDVARD MUNCH SJELENS ENSOMHET». Munch. Besøkt 25. oktober 2021. «I sin første store utstilling i Norden viser den britiske stjernekunstneren Tracey Emin hvordan Edvard Munch har påvirket og formet arbeidet hennes gjennom flere tiår.»
Munzinger Personen, Munzinger IBA 00000026834, besøkt 9. oktober 2017[Hentet fra Wikidata]
rkd.nl
RKDartists, RKD kunstner-ID 131432[Hentet fra Wikidata]
RKDartists, RKD kunstner-ID 131432, besøkt 9. september 2021[Hentet fra Wikidata]
tate.org.uk
«Turner Prize 1999 artists: Tracey Emin». Tate. Besøkt 25. oktober 2021. «Tracey Emin was nominated for her exhibitions in New York and Japan in which she continued to show her versatility across a wide range of media, her vibrancy and flair for self-expression.»
«Monument Valley (Grand Scale) 1995–7». Tate. Besøkt 25. oktober 2021. «a trip Emin made to the United States in 1994. She and her then boyfriend, the writer, curator and gallerist Carl Freedman, drove from San Francisco to New York stopping off along the way to give readings from her book, Exploration of the Soul 1994»
«Tracey Emin Exploration of the Soul 1994». Tate. Besøkt 25. oktober 2021. «This work comprises framed sheets of blue A4 notepaper on which Emin has written a poetic text recounting significant moments in her life up until the age of thirteen.»
White Cube. «Tracey Emin». White Cube. Besøkt 25. oktober 2021. «Tracey Emin’s expressive and visceral art is one of disclosure, dealing with personal experience and heightened states of emotion. Frank and intimate but universal in its relevance, her work draws on the fundamental themes of love, desire, loss and grief, unravelling in the process the nuanced constructs of ‘woman’ and ‘self’ through probing self-exploration.»
«Tracey Emin My Major Retrospective 1963-1993». White Cube. Besøkt 25. oktober 2021. «The title of Tracey Emin’s exhibition poignantly suggests the artist felt, rather than being at the beginning of her career, that significant things had already happened. The show comprised over a hundred objects Emin had collected over the years, in what constituted a continuing act of almost obsessive assemblage. The precious ephemera that she put on display included teenage diaries, souvenirs, toys and memorabilia, combined with paintings, drawings, and tiny photographs of her art-school paintings.»
widewalls.ch
Elena Martinique (7. januar 2020). «The Controversy of the Sensation Art Exhibition». Widewalls Magazine. Besøkt 25. oktober 2021. «The Sensation exhibition in London included 110 works from 44 artists, bringing together creatives who not only worked in different artistic media but who also had few aesthetic or ideological positions in common. The themes to be found in the works in the show varied, from contemporary and pop culture, identity politics, to feminism, cultural diversity and racism, mortality, memory, class, and social criticism. However, the exhibition sought to define a generation of artists and their diverse artistic visions.»
