"I always said I'd come down and haunt the place and re-hang things if I didn't like it. But I didn't die. And to be alive and seeing this is really quite phenomenal. All I know is while I'm here now, I've got to make the most of every moment. I've got to enjoy my painting, enjoy my life. I've got to be as bold and as honest as possible."
"Honesty has been her strong suit since she burst onto the art scene in the 1990s as part of the now-iconic Young British Artists (YBAs), equally scandalizing and enthralling the U.K. public with her radically confessional work that explored everything from sexual assault, abortion, and mental health to broader issues of class, race, and sexuality."
"A Second Life is an apt reflection of Emin's unfettered approach to art making. Its 90-odd works are presented with barely any wall text or interpretation and achronologically—an atypical approach to a career survey, one fitting for Emin's singular I-don't-give-a-fuck style. The show presents Emin's career as one continuous confrontation with vulnerability, trauma, and survival."
Tracey Emin, a pioneering Young British Artist from the 1990s, is the subject of a major retrospective at Tate Modern titled "A Second Life." At 62, Emin survived aggressive squamous cell cancer in 2020, which profoundly shaped her perspective on life and art-making. The exhibition features approximately 90 works presented achronologically with minimal wall text, reflecting Emin's unconventional approach. Her career spans decades of radically confessional work addressing sexual assault, abortion, mental health, class, race, and sexuality. The show emphasizes continuous themes of vulnerability, trauma, and survival rather than temporal progression, presenting Emin's artistic practice as an unflinching confrontation with personal and social issues.
Read at Artnet News
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