Interview June 2006 P. 102-109 TRACEY EMIN AS a GIRL
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Art REVOLUTIONARIES Six Years Ago, Two Formidable, Fashionable Women Launched a New Enterprise
Art rEVOLUtIONArIES SIx yEArS AgO, twO fOrmIdAbLE, fAShIONAbLE wOmEN LAUNchEd A NEw ENtErprISE. thEIr mISSION wAS tO trANSfOrm thE wAy wE SUppOrt thE ArtS. thEIr OUtSEt/ frIEzE Art fAIr fUNd brOUght tOgEthEr pAtrONS, gALLErIStS, cUrAtOrS, thE wOrLd’S grEAtESt cONtEmpOrAry Art fAIr ANd thE tAtE IN A whIrLwINd Of fUNdrAISINg, tOUrS ANd pArtIES, thE LIkES Of whIch hAd NEVEr bEEN SEEN bEfOrE. hErE, fOr thE fIrSt tImE, IS thEIr INSIdE StOry. just a decade ago, the support mechanism for young artists in Britain was across the globe, and purchase it for the Tate collection, with the Outset funds. almost non-existent. Government funding for purchases of contemporary art It was a winner all round. Artists who might never have been recognised had all but dried up. There was a handful of collectors but a paucity of by the Tate were suddenly propelled into recognition; the national collection patronage. Moreover, patronage was often an unrewarding experience, both acquired work it would never otherwise have afforded. for the donor and for the recipient institution. Mechanisms were brittle and But the masterstroke of founders Gertler and Peel was that they made it old-fashioned. Artists were caught in the middle. all fun. Patrons were whisked on tours of galleries around the world or to Then two bright, brisk women – Candida Gertler and Yana Peel – marched drink champagne with artists; galleries were persuaded to hold parties into the picture. They knew about art; they had broad social contacts across a featuring collections of work including those by (gasp) artists tied to other new generation of young wealthy; and they had a plan. -
THBT Social Disgust Is Legitimate Grounds for Restriction of Artistic Expression
Published on idebate.org (http://idebate.org) Home > THBT social disgust is legitimate grounds for restriction of artistic expression THBT social disgust is legitimate grounds for restriction of artistic expression The history of art is full of pieces which, at various points in time, have caused controversy, or sparked social disgust. The works most likely to provoke disgust are those that break taboos surrounding death, religion and sexual norms. Often, the debate around whether a piece is too ‘disgusting’ is interwoven with debate about whether that piece actually constitutes a work of art: people seem more willing to accept taboo-breaking pieces if they are within a clearly ‘artistic’ context (compare, for example, reactions to Michelangelo’s David with reactions to nudity elsewhere in society). As a consequence, the debate on the acceptability of shocking pieces has been tied up, at least in recent times, with the debate surrounding the acceptability of ‘conceptual art’ as art at all. Conceptual art1 is that which places an idea or concept (rather than visual effect) at the centre of the work. Marchel Duchamp is ordinarily considered to have begun the march towards acceptance of conceptual art, with his most famous piece, Fountain, a urinal signed with the pseudonym “R. Mutt”. It is popularly associated with the Turner Prize and the Young British Artists. This debate has a degree of scope with regards to the extent of the restriction of artistic expression that might be being considered here. Possible restrictions include: limiting display of some pieces of art to private collections only; withdrawing public funding (e.g. -
Evening Auction Realised £9,264,000 / $12,302,590 / €10,848,145 to Continue George Michael’S Philanthropic Work
MEDIA ALERT | LONDON FOR IMMEDIATE R E L E A S E | 1 4 M A R C H 2 0 1 9 EVENING AUCTION REALISED £9,264,000 / $12,302,590 / €10,848,145 TO CONTINUE GEORGE MICHAEL’S PHILANTHROPIC WORK THE GEORGE MICHAEL COLLECTION 100% SOLD 4 ARTIST RECORDS SET DURING THE EVENING Jussi Pylkkänen, Christie’s Global President and auctioneer for The George Michael Collection selling Careless Whisper by Jim Lambie for £175,000 / $232,400 / €204,925. © Christie’s Images Limited 2019 / Rankin London – The much-anticipated auction of the art collection of George Michael, British singer and songwriter, and icon of the imaginative spirit of the 1980s and 1990s, has realised £9,264,000 / $12,302,590 / €10,848,145. Proceeds from the sale will be used to continue George Michael’s philanthropic work. Having attracted over 12,000 visitors to the pre-sale exhibition, 24% of registrants to The George Michael Collection were new to Christie’s. The evening auction welcomed registered bidders from 27 countries across 5 continents, reflecting the global appeal of George Michael and the YBAs. The evening sale comprised 60 lots and was 100% sold, with competitive bidding in the saleroom in London and via simulcast from New York, in addition to online via Christie’s Live™. The standalone online sale continues until lunchtime on Friday 15th March, after which point the combined total realised will be announced. Jussi Pylkkänen, Global President of Christie’s, and auctioneer for the night commented: “Tonight’s sale was another great moment for the London art market and particularly for so many YBA artists. -
N.Paradoxa Online Issue 4, Aug 1997
n.paradoxa online, issue 4 August 1997 Editor: Katy Deepwell n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 4, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue4.pdf August 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk The following article was republished in Volume 1, n.paradoxa (print version) January 1998: N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 2 List of Contents Editorial 4 VNS Matrix Bitch Mutant Manifesto 6 Katy Deepwell Documenta X : A Critique 9 Janis Jefferies Autobiographical Patterns 14 Ann Newdigate From Plants to Politics : The Particular History of A Saskatchewan Tapestry 22 Katy Deepwell Reading in Detail: Ndidi Dike Nnadiekwe (Nigeria) 27 N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian 35 Diary of an Ageing Art Slut 44 n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 3 Editorial, August 1997 The more things change, the more they stay the same or Plus ca change.. -
Words from the Arts Council Collection Aberystwyth Arts Centre 21 September – 9 November 2002
Words from the Arts Council Collection Aberystwyth Arts Centre 21 September – 9 November 2002 The role of language in art is the focus of a new exhibition, Words from the Arts Council Collection. It features works by 29 artists, ranging from the modern master Ben Nicholson and senior figures Gilbert & George and David Hockney, to the younger generation including Tracey Emin, Mona Hatoum and Martin Boyce. This new National Touring Exhibition, organised by the Hayward Gallery, has been selected from the Arts Council Collection in collaboration with Plymouth City Museum and Art Gallery, and comes to Aberystwyth in September before touring extensively around the UK. Artists’ engagement with language as a visual and conceptual tool takes many forms. It offers many ways to explore the potential of a means of communication we often take for granted. Words find their way into art in both conventional and unexpected ways, replacing the image, or functioning as a code for it. Ian Hamilton Finlay’s neon poem Strawberry Camouflage appeals to the viewer with its seductive colours and simple wordplay. Fiona Banner’s The desert covers a huge length of gallery wall, and transcribes, in the artist’s own words, the events of the film Lawrence of Arabia. Ben Nicholson worked within the Cubist tradition and in his painting Bocque, 1932, mimicked the style of lettering found in the bar or the café of the period. David Hockney used the idea of graffiti in his early ‘Pop’ masterpiece, We Two Boys Together Clinging, 1961. An artwork may consist only of its description, a proposal for its making, or instructions for looking. -
Sculpture in the City–2013 (Year 3)-Progress Report, Gateway 6 Public Report Of: Director of the Built Environment for Decision Summary
Committee(s): Date(s): Streets & Walkways Sub-Committee 22/04/2013 Culture, Heritage & Libraries Committee 29/04/2013 Subject: Sculpture in the City–2013 (Year 3)-Progress Report, Gateway 6 Public Report of: Director of the Built Environment For Decision Summary The east of the City is home to the City‟s programme of temporary artwork. Now entering its third consecutive year, the project has been developed as part of a long- term vision to enhance the public realm and forms part of the Eastern City Cluster and Fenchurch & Monument Area Enhancement Strategies. The project creates interest and promotes interaction for visitors, tourists and office workers. It helps to deliver the objectives of the Cultural Strategy and the City Together Strategy, particularly: Theme 4: “is vibrant and culturally rich”. The project includes community events and on-site school workshops. The temporary nature of the artworks ensures it remains dynamic, responding to the constantly changing urban environment of this part of the City. The project is funded through financial and in kind support from external partners including Hiscox, British Land, Aviva, Aon, Brookfield and 30 St. Mary Axe (IVG-Europe) and a capped contribution (£50k) from the Pinnacle Section 106 agreement. Year 1 (2011) was considered a success with 4 artworks installed on-site, and over 1,800 people attending 8 on-site school workshops and free community events in July 2011. Year 2 (2012) saw an expansion of the scheme with twice the number of artworks being displayed, 8 in total. An Advisory Board to direct the strategy and selection of artworks was set up comprising CoL Members, and senior representatives from project partners. -
Sculpture from Saatchi Gallery Sells for £3.1 Million at Christie's
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 1 7 O c t o b e r 2013 Sculpture from Saatchi Gallery sells for £3.1 million at Christie’s 23 artist records including for Tracey Emin’s To Meet My Past (£481,875 / $770,518 / €567,649) Proceeds to support the Saatchi Gallery’s continuing policy for free admission and art education 0ver 7000 visitors in 6 days to Thinking Big exhibition Top three prices for women artists London – Thinking Big, a special auction of major contemporary sculpture and installation offered from the Saatchi Gallery, took place this evening at Christie’s and realized £3,086,350 / $4,935,074 / €3,635,720. A unique auction concept, this sale offered 50 works with no reserves and no estimates. Proceeds from the auction will support the Saatchi Gallery’s continuing policy for free entry to all exhibitions and free education programme for schools. To accommodate the monumental scale and scope of the work, Thinking Big is on public view at The Sorting Office on New Oxford Street, a vast former postal depot in central London. The public exhibition continues until Sunday 20 October. The top price of the auction was paid for To Meet My Past, a four poster bed by Tracey Emin, which sold for £481,875 / $770,518 / €567,649 – a world record price for the artist at auction. The sale represented artists from around the globe and attracted bidding and buying from 5 continents, including both private collectors and institutions. In total, 23 artist records were established representing 46% of the auction, and the top 3 prices were paid for works by female artists (Tracey Emin, Rebecca Warren and Berlinde de Bruyckere). -
Where's the Criticality, Tracey? a Performative Stance Towards
Where’s the Criticality, Tracey? A Performative Stance Towards Contemporary Art Practice Sarah Loggie 2018 Colab Faculty of Design and Creative Technologies An exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Creative Technologies Karakia Timatanga Tukua te wairua kia rere ki ngā taumata Hai ārahi i ā tātou mahi Me tā tātou whai i ngā tikanga a rātou ma Kia mau kia ita Kia kore ai e ngaro Kia pupuri Kia whakamaua Kia tina! TINA! Hui e! TAIKI E! Allow one’s spirit to exercise its potential To guide us in our work as well as in our pursuit of our ancestral traditions Take hold and preserve it Ensure it is never lost Hold fast. Secure it. Draw together! Affirm! 2 This content has been removed by the author due to copyright issues Figure A-1 My Bed, Tracey Emin, 1998, Photo: © Tracey Emin/Tate, London 2018 R 3 Figure B-1, 18-06-14, Sarah Loggie, 2014, Photo: © Sarah Loggie, 2018 4 Abstract Tracey Emin’s bed is in the Tate Museum. Flanked by two portraits by Francis Bacon, My Bed (1998) is almost inviting. Displayed on an angle, it gestures for us to climb under the covers, amongst stained sheets, used condoms and empty vodka bottles - detritus of Emin’s life. This is not the first time My Bed has been shown in the Tate. The 2015-17 exhibitions of this work are, in a sense, a homecoming, reminiscent of the work’s introduction to the British public. -
The Origins and Exhibition of Rachel Whiteread's 'Untitled (Room 101)'
MA.NOV.Lawrence.pg.proof.corrs:Layout 1 15/10/2010 16:18 Page 736 A substitute for history: the origins and exhibition of Rachel Whiteread’s ‘Untitled (Room 101)’, 2003 by JAMES LAWRENCE IN NOVEMBER 2003, Untitled (Room 101) (Fig.46), by Rachel Whiteread, appeared in the Italian Cast Court at the Victoria and Albert Museum, London, where it remained until the following summer. In contrast to the ornate surfaces, elegant contrapposto and fluid modelling of the surrounding casts, the new object presented a rectilinear mass of pockmarked planes and stodgy architectural details. The parenthetical title alludes to the place of final torture in George Orwell’s novel Nineteen Eighty-Four (1949) but refers specifically to the real source of the sculpture: Room 101 at Broadcasting House (Fig.45), the headquarters that George Val Myer and Francis James Watson-Hart designed for the British Broadcasting Corporation. A widespread legend held that Room 45. Broadcasting House, 2–22 101 served as Orwell’s office when he worked for the Eastern Portland Place, Service during the Second World War. Early coverage and sub- London W1. sequent discussion of Untitled (Room 101) emphasised this unsub- 1932. Designed by George stantiated literary connection – all the more resonant in 2003, the Val Myer and centenary of Orwell’s birth – and the connotations of authoritar- Francis James ian menace that flow from it.1 This article focuses on less allusive Watson-Hart. (Photograph by aspects, including the circumstances that led to the creation of the Janet Hall, 1995; sculpture; the physical conditions of its origins, form and public RIBA Library display; and the interpretive consequences of those physical traits. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright 1 Sydney College of the Arts The University of Sydney MASTER OF FINE ARTS 2014 RESEARCH PAPER SECRETIONS AND CONFESSIONS - SURVEYING THE BED AS A SITE OF DISCLOSURE. by Lionel Bawden December 8th, 2014 This volume is presented as a record of the work undertaken for the degree of Master of Visual Arts at Sydney College of the Arts, University of Sydney. 2 TABLE OF CONTENTS Acknowledgements -
Sarah Lucas at the Hammer Museum
Tracey Emin’s coterminous who (brilliantly!) handed out My Bed (1998) (unmade, and cards to people that explained Sarah Lucas littered with vodka bottles), that she was rendered uncom- at the Hammer Au Naturel doesn’t evoke fortable by their racist remarks. deep feeling. The presence In the 1990s, Lucas’ refusal Museum of a gritty bare mattress on to agonize may have made the foor does convey a sense viewers feel less accused by June 9–September 1, 2019 of emotional poverty, but its her work, allowing them to straightforward allusion to consume it without shutting If you’re going to depict a body parts lacks the emotional down defensively. In this way, woman bending over a toilet depth of Emin’s scorching perhaps Lucas’ art belongs with a cigarette stuck up document of loneliness. more in the company of her anus, you should have Lucas’ work helps us Andrea Fraser’s bananas a good reason. Unfortunately, understand how certain artis- Museum Highlights: A Gallery a compelling motivation, tic gestures once loosened Talk (1989), which wrapped up aside from a loosely articulated an ossifed social structure gender critique in wisecracks. impatience with gender without necessarily ofering The meaning of Lucas’ discrimination, does not fully a way forward. In the 1980s and work dries up a lot faster than reveal itself in Sarah Lucas’ ’90s, Emin harnessed pathos Fraser’s, however, because retrospective, Au Naturel, to describe women’s condi- it doesn’t speak to the larger now on view at the Hammer tions, and Adrian Piper reveled scope of human existence. -
My Bed on the Market for the First Time Yba Icon Sold to Benefit the Saatchi Gallery’S Foundation
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE – 28 MAY 2014 TRACEY EMIN’S MY BED ON THE MARKET FOR THE FIRST TIME YBA ICON SOLD TO BENEFIT THE SAATCHI GALLERY’S FOUNDATION My Bed Mattress, linens, pillows and objects 31 x 83 x 92⅛in. (79 x 211 x 234cm.) Executed in 1998 Estimate: £800,000 -1,200,000 London – On 1 July, Christie’s will offer one of the most iconic works from the YBA movement, Tracey Emin’s My Bed, 1998, in the Post-War & Contemporary Art Evening Auction, London. Building on Christie’s recent success with Sensation generation artists, including record prices for works by Jenny Saville and Gary Hume in the February 2014 Evening Auction, and for a more recent work by Tracey Emin (To Meet My Past, 2002) in Christie’s October 2013 Thinking Big auction of sculpture from the Saatchi Gallery Collection, we anticipate a strong degree of interest in this work. A major piece that encapsulates Emin’s deeply personal work exploring the relationship between her life and her art, My Bed caused a furore when it was shortlisted for the Tate’s Turner Prize in 1999, prompting widespread public debate about the nature of contemporary art. As Francis Outred, Christie’s Head of Post- War & Contemporary Art, Europe, says: ‘In My Bed (1998) Tracey Emin shares with us her most personal space, revealing a dark moment from her life story with startling honesty and raw emotion. Her ability to integrate her work and personal life to a point where they become indistinguishable creates an intimacy with her viewers and asks us to witness her cathartic practice as a means of her survival.