- Gebundene Ausgabe: 414 Seiten
- Verlag: Rizzoli; Auflage: illustrated edition (31. Oktober 2006)
- Sprache: Englisch
- ISBN-10: 0847828778
- ISBN-13: 978-0847828777
- Größe und/oder Gewicht: 32,4 x 24,7 x 3,9 cm
- Amazon Bestseller-Rang: Nr. 216.772 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Kurzbeschreibung
The most highly publicized of the infamous Young British Artists, Emin has stirred as much controversy as she has acclaim, being both highly personal and extremely original in her art. Emin's work is engaging, titillating, disturbing, and startlingly confessional. One of her most famous pieces is Everyone I Ever Slept With 1963-1995, a tent appliquéd with names. Another notorious work, My Bed—the scene where she spent four days contemplating suicide—was exhibited at Tate Britain when the artist was short-listed for the Turner prize in 1999. Though denounced by conservative critics at the outset, Emin's work has attracted serious critical attention for more than a decade. In the words of Art in America, "What brought Emin to prominence was shock value, but what keeps her work powerful as she continues is the strength and nuance of its form and content." Compiled in close collaboration with the artist herself—and unprecedented in its scope—this is the definitive book on Emin, featuring drawings, paintings, sculptures, appliqués and embroideries, neon and video stills as well as her own writing.
Synopsis
The extensive text is based on a long friendship and hundreds of hours of discussion between Emin and Carl Freedman, himself a renowned gallerist and art publisher. This book covers her work in all media: drawing, sculpture, film, photography, and writing. David Bowie called Emin while critics describe her art as full of passion, striving, and liveliness. Tracey Emin produces what can best be described as autobiographical art. Her works have included the famous embroidered tent Everyone I Have Ever Slept With 1963-95 (1995), the book about her childhood Exploration of the Soul (1994), the Tracey Emin Museum in a shop in London (1995-98), and her bed, My Bed (1998) at the Tate. Saatchi's 1997 exhibition Sensation at the Royal Academy of Arts (and later to the Hamburger Banhof in Berlin and the Brooklyn Museum of Art) cemented her reputation. The show attracted some high profile criticism but audiences remain fascinated by the raw openness of her work. Though she didn't win the 1999 Turner Prize, critics noted that the public visiting the Tate's exhibition were much more visibly engaged by Emin's work than that of the other Turner Prize nominees.In her multimedia work she uses sewing, neons, videos, Super-8 films, photographs, watercolors, and is also a compulsive writer. Emin's art is highly confessional, for she makes her life known as well as her beliefs and her feelings. Her life and art are inextricably entwined. Her work is a controlled exhibition of the self: often tragic, sometimes funny.
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Repetitive
17. August 2009
Format:Gebundene Ausgabe
I was looking forward to this book release and was quite disappointed when it finally came out. It's very thick which is it's best attribute, but the content gets boring fast. The sketches are very raw, very simple, and not very diverse in subject matter. 1,000 was far too many than was needed. 500 would have been too many. A 100 would have easily given you the basic idea. These are simple line drawings of figures, reproduced fairly small and with not much detail. This is for Emin completists only.
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An Artist's Artist
16. Mai 2007
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
If we can assume for the moment that one of the most daunting enemies of art is fear, then Tracey Emin is contributing to the art world in ways that are anything but obvious. If art causes one to think, to wonder, and to move the artist's images in and out of one's own life, just to see how it fits, like furniture seeking its rightful position in the room, then the business of art is really all about seeding the imagination. Seeds must be honest, and honest art must be fearless. The art in this book is not always pretty and comfortable, but it is always thoughtful and honest and fearless. In the effort to appreciate art, people have cautioned that one should view the art - not the artist. That isn't possible in the case of Tracey Emin, because the art and the artist are inseparable entities. She is the art, and her honesty shines through like a diamond in a mud pie. I don't know Tracey Emin, but I do know that if I ever met her, I'd never forget her. This book might be most readily appreciated by artists who will not just find inspiration in images that haven't already been thought about as much as the ones thought about but supressed. If you're an artist, I can't promise that you'll feel good about the way Emin approches her art, but I'm reasonably sure that you'll feel good about the way you'll begin to approch yours.
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