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Tracey Emin, Nude awakening: 'Good Red Love', 2014
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Three years on from her retrospective at the Hayward (2011) Tracey Emin is showing an ambitious and substantial body of new work in White Cube's vast Bermondsey spaces. The show includes bronze sculptures, drawings, paintings, large-scale
embroideries and neon works and is, in her own words, "about rites of passage, of time and age, and the simple realisation that we are always alone."
Reviews have been (generally) very positive, although Jonathan Jones' five star notice in The Guardian is perhaps a little gushing: "a lesson in how to be a
real artist… [Emin] is now
clearly the most important British artist of her generation." On the matter of technique, he observes:
"Drawing is a cruel art. Like any skilled medium with a long history,
it imposes rules, traditions and standards that an artist cannot simply
ignore. To make a drawing is to try to get something right, just as much
as playing a piece of music is.In short, you can either draw or you can’t draw.
Tracey Emin can." (Discuss!)
Read reviews by Jones, Karen Wright, Alastair Sooke, Laura Cumming, J.J. Charlesworth and Ben Luke; read interviews and features by Rachel Cooke, Chris Harvey, Margaret Harrison and Suzanne Moore; read Emin's responses to questions in a webchat.
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| Tracey Emin, I Want You Because I Can’t Have You, 2014 |
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Tracey Emin, Good Body, 2014
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Tracey Emin, So Pretty, 2014
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| Tracey Emin, Feel You Coming, 2014 |
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| Tracey Emin, The Last Great Adventure is you, 2014 |
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