THE ART OF PDF, EPUB, EBOOK

Chris Townsend,Mandy Merck,Etc. | 224 pages | 01 Nov 2002 | Thames & Hudson Ltd | 9780500283851 | English | , The Art of Tracey Emin by Chris Townsend

White Cube. Save Me , Xavier Hufkens. Sex 26 Sydney , The way you spoke to me , I Loved My Innocence , There was so much more of me , Little woman - Something I've always wanted Aste Boetto. Love Is What You Want , Lougher Contemporary. Crane , No Time for Love. The Kiss Was Beautiful , In The Art of Tracey Emin, distinguished critics from Britain and the United States address her achievement in depth for the first time, tracing Emin's influences from Egon Schiele to Judy Chicago and establishing her place in a larger tradition of postmodern and feminist art. Adopting a variety of critical approaches, contributors explore the full range of Emin's work, from photography and monoprints to and videos, showing that, however raw and personal it may seem to be, it actually represents a carefully meditated response to vital issues in contemporary culture and society. Deals the truth about anal intercourse, at last: how liberating it is- but only for the purpetrator. In this case, the work explores the common experience of depression through a very personal and intimate lens. This artwork draws an important distinction between representation and presentation. This piece is not a representation of an object such as a or a . The art object doesn't refer to another object; it is the object itself. Some have argued that this was the key work in elevating women's experiences to the level of artistic expression. Liz Hoggard claims the work was shocking, and consequently incredibly important, because "it broke so many taboos about the body, sexuality, shame. Box frame, mattress, linens, pillows and various objects - , London. This photographic self-portrait of Emin deals with two key themes of her work: the artists' body and monetary success. Emin sits in front of the camera with her head down and her legs apart. A pile of money notes and coins sits between her legs and she seems to be clutching the money to her groin. As author Lauren DiGiulio points out, "it's a delightfully ambiguous gesture. Is she suggesting an appropriation of an exterior material economy into a physical interior in attempting to incorporate the money into her own body, or has she become a human slot machine, transformed into a progenitor of pure liquid capital? However, this photograph suggests both that she is celebrating her success, and also that she is somehow overwhelmed by it. Knowing Emin's sarcasm in her own work, one can assume that she is mocking her success, and in turn the creative economy, by this depiction. Money and art have always been interdependent, and the objectified and the objectifier are one in this artistic gesture. Money is used as a behavioral element in this image, and can often lead to shame The photograph also explores the artist's use of her body as a source for her art, and consequently as a source of money, as well as the complex associations of prostitution that it brings. Emin is wearing a dress by designer Vivienne Westwood and Emin's signature gold necklaces. The artist has been featured as a model for Westwood in print advertising, and she often wears the brand with pride at public functions. Emin's association with the Westwood brand only supports her being dubbed as "the bad girl of British art" as the designer herself is among a generation of female rebels. Westwood is responsible for bringing punk into the mainstream through fashion, and through this she has had a long career of being an alternative to the norm since the s. In this work, Emin returns to the theme of the intimacies of one's bedroom, but rather than presenting an unmade bed that she herself had slept in, she presents a perfectly made bed with an elaborate metal frame, which is covered with hand-embroidered fabrics. The images and words embroidered into the quilts, pillows, and hangings create a portrait of a young girl: her fears, sexuality, and experiences of abuse. This is one of several works by Emin that use embroidery and applique techniques, traditionally female activities that are typically considered to be a "craft" and therefore distinct from "fine art. Rather than the real menstrual blood exhibited in her earlier work , here Emin chose to use fabric and thread to represent female bodily functions, but are meant to signify the same concept. It is the symbol of the stain created through needlepoint handicraft that makes this choice significant, for she is referencing previous work while simultaneously reinventing the idea. The cover of the bed reads, "To meet my past," and other phrases adorn the bed sheets and cushions such as: "I cry in a world of sleep," "Please God don't do this to me," "I cannot believe I was afraid of ghosts," and as if signing and simultaneously time stamping the work, ''Tracey Emin ''. These highly emotive statements contrast with the soft, warm, and comforting nature of the bed itself. In the s, Emin began working extensively with neon lighting. - Artists - Tracey Emin

Emin was invited to Madonna 's country estate Ashcombe and has been described by the singer, "Tracey is intelligent and wounded and not afraid to expose herself," she says. I can relate to that. In , it was reported that this unique piece had been discovered dumped in a skip in east London. The piece, consisting of neon tubing spelling the words Moss Kin , had been mistakenly thrown out of a basement, owned by the craftsman who made the glass. The artwork was never collected by Moss and had therefore been stored for three years in the basement of a specialist artist used by Emin in the Spitalfields area. It was accidentally dumped when the craftsman moved. Other examples can be seen in a monoprint called MatKin dedicated to her then boyfriend artist and released as an aquatint limited edition in In the same image was released as a limited edition etching, but renamed as Kate Moss Emin's relationship with the artist and musician led to the name of the movement in Childish, who had mocked her new affiliation to conceptualism in the early s, was told by Emin, "Your are stuck, you are stuck! Emin and Childish had remained on friendly terms up until , but the activities of the Stuckist group offended her and caused a lasting rift with Childish. In a interview, she was asked about the Stuckists:. I don't like it at all… I don't really want to talk about it. If your wife was stalked and hounded through the media by someone she'd had a relationship with when she was 18, would you like it? That's what happened to me. I don't find it funny, I find it a bit sick, and I find it very cruel, and I just wish people would get on with their own lives and let me get on with mine. Childish left the Stuckist movement in Emin commented that she decided to exhibit in Oxford as museum director Andrew Nairne had always been "a big supporter of my work". Emin spoke out angrily against what she perceived as a general public lack of sympathy, and even amusement, at the loss of the artworks in the fire. In August , the British Council announced that they had chosen Emin to produce a show of new and past works for the at the 52nd in Emin was the second woman to produce a solo show for the UK at the Biennale, following in Andrea Rose, the commissioner for the British Pavilion, stated that the exhibition would allow Emin's work to be viewed "in an international context and at a distance from the YBA generation with which she came to prominence. Emin picked the title Borrowed Light [74] for the exhibition. She produced new work especially for the British Pavilion, using a wide variety of media — from needlework, photography and video to drawing, painting, sculpture and neon. A promotional British Council flyer included an image of a previously unseen monoprint for the exhibition called Fat Minge that was included in the show, while the Telegraph newspaper [75] featured a photo of a new purple neon Legs I that was on display directly inspired by Emin's purple watercolour Purple Virgin series. Emin summed up her Biennale exhibition work as "Pretty and hard-core". Emin showed Wark some work-in- progress, which included large-scale canvases with paintings of Emin's legs and vagina. Starting with the Purple Virgin acrylic watercolour series with their strong purple brush strokes depicting Emin's naked open legs, leading to Emin's paintings in such as Asleep Alone With Legs Open , the Reincarnation series and Masturbating amongst others, these works were a significant new development in her artistic output. Andrea Rose, the British Pavilion commissioner, added to this commenting on the art Emin has produced, "It's remarkably ladylike. There is no ladette work — no toilet with a poo in it — and actually it is very mature I think, quite lovely. She is much more interested in formal values than people might expect, and it shows in this exhibition. It's been revelatory working with her. Tracey's reputation for doing shows and hanging them is not good, but she's been a dream to work with. What it shows is that she's moved a long way away from the YBAs. She's quite a lady actually! This entitles Emin to exhibit up to six works in the annual summer exhibition. Emin had previously been invited to include works at the R. Summer Exhibitions of , , , and For 's Summer Exhibition, Emin was chosen by fellow artist David Hockney to submit two monoprints, one called And I'd Love To Be The One and another on the topic of Emin's abortion called Ripped Up , as that year's theme celebrated the art of drawing as part of the creative process, while saw Emin exhibit a neon work called Angel Her art was first included at the Royal Academy as part of the Sensation exhibition in For the June Summer Exhibition, Emin was invited to curate a gallery. The first major retrospective of Emin's work was held in Edinburgh between August and November [82] attracting over 40, visitors, breaking the Scottish of Modern Art 's record for an exhibition of work by a living artist. The large-scale exhibition included the full range of Emin's art from the rarely seen early work to the iconic My Bed and the room-sized installation Exorcism of the Last Painting I Ever Made It was reported on 6 November that Emin gifted a major sculpture to the Scottish National Gallery of Modern Art as a "thank you" [86] to both the gallery and the city of Edinburgh. The work called Roman Standard comprises a foot-tall 4. In May—August , a major survey exhibition at London's Hayward Gallery consisted of work from all aspects of Emin's art practice, [87] revealing facets of the artist and her work that are frequently overlooked. Emin made a new series of outdoor especially for this solo show. The exhibition also featured a series of embroidered texts and hand-woven tapestries which continued Emin's interest in domestic and handcrafted traditions. Because I'm nearly 50, I'm single, because I don't have children. Emin's monoprints are a well documented part of her creative output. These unique drawings represent a diaristic aspect and frequently depict events from the past for example, Poor Love , From The Week of Hell '94 and Ripped Up , which relate to a traumatic experience after an abortion or other personal events as seen in Fuck You Eddy and Sad Shower in New York which are both part of the Tate's collection of Emin's art. Often they incorporate text as well as image, although some bear only text and others only image. The text appears as the artist's stream of consciousness voice. Some critics have compared Emin's text-only monoprints to ransom notes. The rapid, one-off technique involved in making monoprints is perfectly suited to apparently immediate expression, as is Emin's scratchy and informal drawing style. Emin frequently misspells words, deliberately or due to the speed at which she did each drawing. In a interview with Lynn Barber , Emin said, "It's not cute affectation. If I could spell, then I would spell correctly, but I never bothered to learn. So, rather than be inhibited and say I can't write because I can't spell, I just write and get on with it. Emin created a key series of monoprints in with the text Something's Wrong [96] or There Must Be Something Terebley Wrong With Me [97] [ sic ] written with spelling mistakes intact in large capital letters alongside "forlorn figures surrounded by space, their outlines fragile on the page. Some are complete bodies, others only female torsos, legs splayed and with odd, spidery flows gushing from their vaginas. They are all accompanied by the legend There's Something Wrong. In The Livingroom Other drawings from include the Family Suite series, part of the Scottish National Gallery of Modern Art collection, consisting of 20 monoprints with "archetypal themes in Emin's art: sex, her family, her abortions, and Margate". Emin's monoprints are rarely displayed alone in exhibitions, they're particularly effective as collective fragments of intense emotional confrontation. Emin has made several works documenting painful moments of sadness and loneliness experienced when travelling to foreign cities for various exhibitions such as Thinking of You and Bath White I [] which were from a series of monoprints drawn directly onto the USA Mondrian hotel stationery. As the title suggests, the book contains drawings of Emin's career since The book was released to coincide with Emin's show Those who suffer love at White Cube which was mainly a drawings show. I'd probably done, over that period of time about drawings". Monoprint drawings of mothers and children that Emin drew during a pregnancy in were included in a joint exhibition with Paula Rego and Mat Collishaw at the Foundling Museum. Rarely exhibited examples of monoprints gifted to friends and family of Emin form a niche but revealing body of work. These may show Emin's work in the most raw and uncensored from. Emin has gifted monoprints to individuals including her brother Paul Emin [] and the singer Cat Stevens Yusuf Islam with whom she shares Cypriot heritage. Emin displayed six small watercolours [] in her exhibition in , and also in her New York show Every Part of Me's Bleeding held that same year, known as the Watercolour series These delicate, washed out but colourful watercolours include four portraits of Emin's face and were all painted by Emin in Berlin during , adapted from Polaroids of the artist taking a bath. The bath theme seen in these watercolours was later revisited by Emin in her photographic work Sometimes I Feel Beautiful and in monoprints such as the Bath White series. With all these works, Emin explores a Mary Cassatt quality of the "woman in a private moment". Emin's focus on painting has developed over the past few years, starting with the Purple Virgin acrylic watercolour series of purple brush strokes depicting her naked open legs, and leading to paintings such as Asleep Alone With Legs Open , the Reincarnation series and Masturbating , among others. Other works were nude self-portrait drawings. Emin was quoted as saying, "For this show I wanted to show that I can really draw, and I think they are really sexy drawings. Work for her show at the Venice Biennale included large-scale canvases of her legs and vagina. A watercolour series called The Purple Virgins were displayed. There are ten Purple Virgin works in total, six of which were shown at the Biennale. More new paintings are expected to be shown in Emin's You Left Me Breathing exhibition in Los Angeles' from 2 November , described in a recent interview as an 'exhibition of sculpture and painting'. An article by the art critic Alastair Sooke , published in The Daily Telegraph , in October , discussed Emin's change of direction from conceptual pieces to painting and sculpture. Sooke claimed that although Emin was appointed Professor of Drawing at the Royal Academy in , she has been taking drawing lessons privately for some years in New York, and that she had also been taking sculpture lessons for at least three years. Neither Emin or Jay Jopling have commented on the article. Emin has produced many photographic works throughout her career, including Monument Valley Grand Scale —97 [] and Outside Myself Monument Valley, reading "Exploration of the Soul" [] which resulted "from a trip Emin made to the United States in She and her then boyfriend, writer, curator and gallery owner , drove from San Francisco to New York, stopping off along the way to give readings from her book, Exploration of the Soul. The photograph shows the artist sitting in an upholstered chair in Monument Valley , a spectacular location on the southern border of Utah with northern Arizona, holding her book. Although it is open, it is not clear whether she is looking at the viewer or at the text in front of her. Emin gave her readings sitting in the chair, which she had inherited from her grandmother, which also became part of Emin's art, There's A Lot of Money in Chairs Other works such as I've Got It All show Emin with her "legs splayed on a red floor, clutching banknotes and coins to her crotch. Made at a time of public and financial success, the image connects the artist's desire for money and success and her sexual desire her role as consumer with her use of her body and her emotional life to produce her art the object of consumption ", [] while Sometimes I Feel Beautiful pictures Emin lying alone in a bath. Both these works are examples of her using "large-scale photographs of herself to record and express moments of emotional significance in her life, frequently making reference to her career as an artist. The photographs have a staged quality, as though the artist is enacting a private ritual. They depict a naked Emin on her knees inside her beach hut which she and friend had bought in Whitstable, Kent in They are part of museum collections including , the and the National Portrait Gallery and have been mass produced as postcards sold in museum shops around the world. Emin has also worked with neon lights. One such piece is You Forgot To Kiss My Soul [] which consists of those words in blue neon inside a neon heart-shape. Another neon piece is made from the words Is Anal Sex Legal For the Venice Biennale, she produced a series of new purple neon works, for example, Legs I For a joint exhibition with Paula Rego and Mat Collishaw she decorated the front of the Foundling Museum with the neon words "Foundlings and fledglings are angels of this earth". She collects fabric from curtains, bed sheets and linen and has done so for most of her life. She keeps such material that holds emotional significance for later use in her work. Hate And Power Can Be A Terrible Thing , part of the Tate's collection of Emin's work, is a large-scale blanket inspired in part by Margaret Thatcher due to her involvement in "an attack on 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". 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 The chair was very detailed, "including her and her twin brother's names, the year of her grandmother's birth and the year of her death on either side of the words another world , referring to the passing of time. Emin used the chair on a trip Emin made to the United States in Driving from San Francisco to New York stopping off along the way to give readings from her book, Exploration of the Soul It is currently on public display at Pallant Gallery until 6 March as part of the exhibition, 'Contemporary Eye: Crossovers', pallant. Retrieved 6 May On 13 April , 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 , with the parliament building and the London Eye as backdrops. Emin called the artwork "a flag made from wishful thinking". Emin's works on fabric has been related to other artists such as Louise Bourgeois , who Emin actually mentions in a sewn work called The Older Woman with the phrase monoprint on fabric , "I think my Dad should have gone out with someone older like Louise, Louise Bourgeois". Emin has often made use of found objects 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 My Bed , where she displayed her bed. Another instance is the removal of her beach hut from Whitstable to be displayed in a gallery. She incorporated stones and rocks which had been thrown through her window in a mixed media piece in her 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 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. May Dodge, My Nan is also an installation piece that displays relics of personal items significant to Emin. Consisting of A handwritten page of manuscript, two relics and lastly two photographs. 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 s. And lastly the hand written note by Emin herself in blue ink. In February , Emin's first public artwork, a bronze sculpture, went on display outside the Oratory, adjacent to Cathedral. 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. It was commissioned by the BBC. 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. Dance critic Sarah Crompton describes the film in the following way: "It simultaneously breaks my heart and makes me want to cheer every time I see it because in it Emin transmutes the details of her life into an experience that anyone who has ever been hurt - and recovered - can identify with. The images of her hometown are filmed in a different style, which evoke nostalgia and a touch of romance through faded colors and the amateurish handling of the camera. The style of the cinematography changes and lively disco music picks up where the narrative left off. The cut to Emin dancing in a room alone offers a reprieve to an otherwise unfortunate autobiographical story. The piece is Emin's record of several days spent in bed in the grip of depression. The bed is unmade and the sheets are stained. All around are strewn a variety of items such as condoms, contraceptive pills, underwear stained with menstrual blood, money, and cigarette ends. This object is her actual bed resulting from being bedridden after an end of a personal relationship. She said in an interview from the time, "I got up and took a bath and looked at the bed and thought, 'Christ, I made that'. The work was nominated for the Turner prize in and received a hugely mixed response from the public and press. The piece was a seminal work for Emin and the Turner Prize audience, which introduced art as self- confessional and used biographical items that once belonged to the artist to express a common emotion or state. In this case, the work explores the common experience of depression through a very personal and intimate lens. This artwork draws an important distinction between representation and presentation. This piece is not a representation of an object such as a painting or a sculpture. The art object doesn't refer to another object; it is the object itself. Some have argued that this was the key work in elevating women's experiences to the level of artistic expression. Liz Hoggard claims the work was shocking, and consequently incredibly important, because "it broke so many taboos about the body, sexuality, shame. Box frame, mattress, linens, pillows and various objects - Tate, London. This photographic self-portrait of Emin deals with two key themes of her work: the artists' body and monetary success. Emin sits in front of the camera with her head down and her legs apart. A pile of money notes and coins sits between her legs and she seems to be clutching the money to her groin. As author Lauren DiGiulio points out, "it's a delightfully ambiguous gesture. Is she suggesting an appropriation of an exterior material economy into a physical interior in attempting to incorporate the money into her own body, or has she become a human slot machine, transformed into a progenitor of pure liquid capital? However, this photograph suggests both that she is celebrating her success, and also that she is somehow overwhelmed by it. Knowing Emin's sarcasm in her own work, one can assume that she is mocking her success, and in turn the creative economy, by this depiction. Money and art have always been interdependent, and the objectified and the objectifier are one in this artistic gesture. Money is used as a behavioral element in this image, and can often lead to shame The photograph also explores the artist's use of her body as a source for her art, and consequently as a source of money, as well as the complex associations of prostitution that it brings. Emin is wearing a dress by designer Vivienne Westwood and Emin's signature gold necklaces. Art Term. Craft Craft is a form of making which generally produces an object that has a function: such as something you can …. When I use a word The death of the body Nicholas Blincoe The body matters, more than at any other time in history. An uncooked perspective on the nature of sex: Sarah Lucas A. Grayling Since her ironic Two Fried Eggs and a Kebab , which delighted and enraged gallery goers in equal measure, Sarah …. You might like Left Right. Sarah Lucas born CBE born born Cindy Sherman born Martin Creed born born Ana Mendieta — Sutapa Biswas born — Rodney Graham born Mona Hatoum born born Tracey Emin born | Tate

In December , she was appointed Professor of Drawing at the Royal Academy; with , she is one of the first two female professors since the Academy was founded in Spotted a problem? Let us know. The journalist journeys through East London to explore the artists who lived and worked there in the nineties. Discover the story behind My Bed and why it was so controversial when it was first exhibited. Margaret Harrison. The pioneering feminist artist talks to Tate Etc. Craft is a form of making which generally produces an object that has a function: such as something you can …. Sam Thorne. Nicholas Blincoe. The body matters, more than at any other time in history. As Abi Titmuss appears in a Sapphic embrace on …. Since her ironic Two Fried Eggs and a Kebab , which delighted and enraged gallery goers in equal measure, Sarah …. Tracey Emin. Brian Dillon. Main menu additional Become a Member Shop. In . Prints and Drawings Rooms 8 artworks by Tracey Emin. Emin lives in Spitalfields, East London. Read full Wikipedia entry. Abject art Feminist art Installation art 1 more art term …. Artworks Left Right. Tracey Emin My Bed View by appointment. Tracey Emin Terribly Wrong See all Artist as subject Left Right. Tracey Emin Exploration of the Soul Tracey Emin Tracey Emin C. The Kiss Was Beautiful , I Promise To Love You , Tracey x Tracey , My Innocence , Galerie Frank Fluegel. You were Everywhere , Always Me Uniquely Hand Signed Alpha Gallery. Richard Saltoun Gallery. My favourite little bird , Fairhead Fine Art. Sixteen , The Falling , See our Privacy Policy for more information about cookies. By continuing to use our sites and applications, you agree to our use of cookies. Get the latest news on the events, trends, and people that shape the global art market with our daily newsletter. Tracey Emin British, born Biography Tracey Emin is a British artist known for her poignant works that mine autobiographical details through a variety of media including painting, drawing, photography, video, sculpture, and neon text. She is a prominent member of the who rose to fame in the late s. Emin currently lives and works in London, United Kingdom. Tracey Emin 1, results.

Tracey Emin Artworks & Famous Installations+ | TheArtStory

Let us know. The journalist journeys through East London to explore the artists who lived and worked there in the nineties. Discover the story behind My Bed and why it was so controversial when it was first exhibited. Margaret Harrison. The pioneering feminist artist talks to Tate Etc. Craft is a form of making which generally produces an object that has a function: such as something you can …. Sam Thorne. Nicholas Blincoe. The body matters, more than at any other time in history. As Abi Titmuss appears in a Sapphic embrace on …. Since her ironic Two Fried Eggs and a Kebab , which delighted and enraged gallery goers in equal measure, Sarah …. Tracey Emin. Brian Dillon. Main menu additional Become a Member Shop. In Tate Britain. Prints and Drawings Rooms 8 artworks by Tracey Emin. Emin lives in Spitalfields, East London. Read full Wikipedia entry. Abject art Feminist art Installation art 1 more art term …. Artworks Left Right. Tracey Emin My Bed View by appointment. Tracey Emin Terribly Wrong See all Artist as subject Left Right. Tracey Emin Exploration of the Soul Tracey Emin Tracey Emin C. Cunt Vernacular Film and audio. Get A Copy. Paperback , pages. More Details Original Title. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Art of Tracey Emin , please sign up. Be the first to ask a question about The Art of Tracey Emin. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of The Art of Tracey Emin. Jan 09, Joetta rated it it was amazing. Excellent discussions on Emin's complicated art and life. Very good essays and theoretical insight. Feb 28, Kya Buller rated it liked it. Somebody once said to me that you either get Tracey's work or you don't. I certainly do. She is magnificent, and this book familiarises you with the artist incredibly well. Chloe rated it really liked it May 15, Natasha Nicole rated it really liked it Jan 15, Neha Apsara rated it liked it Aug 24, Anita rated it it was amazing Sep 01, Anni Millar rated it it was amazing Jun 05, Laura Fisken rated it really liked it Sep 13, Claire rated it really liked it Oct 11, Jenn Crowell rated it really liked it Oct 16, Stephanie Frances rated it liked it Mar 18, A Marshall rated it it was amazing Mar 29, Neelybat rated it really liked it Jul 21, Brooklyn rated it liked it Dec 08, Isobel rated it really liked it Feb 15, Mueller rated it liked it Mar 15, Sophiee rated it really liked it Jul 19, Maria Lianou rated it it was amazing Jun 30, Simone Engelen rated it liked it Mar 28,

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