Due to COVID-19 restrictions, The Royal Academy are forced to close their doors on The Tracey Emin and Edward Munch exhibition, as well as The Late Summer Exhibition. So, as with many others, having re-booked once already, I am yet again left disappointed. The following blog post may be heavily reliant upon internet research. Luckily though, I have a copy of Emin’s “One Thousand Drawings” (2009) on my shelf.
A hefty volume by anyone’s standards, the aforementioned book shows hours upon hours of spontaneous work. I feel Tracey Emin, setting her internal filter aside, has poured her soul out onto the page. Amid many crossings out, she writes; “I am the custodian, the curator of the images that live in my mind.” (2009) She goes on to say “Every image in this book…has first entered my mind – travelled through my heart, my blood – arriving at the end of my hand.” (Emin. T. 2009)
I like the fact that these drawings, rather than mere progressions toward a finished outcome, have been presented together as a collection of outcomes in themselves. Though there is little evidence of concern around anatomical accuracy – or of light and shade in terms of representational reality – light and shade of another kind are prevalent here. These images are illustrative of harrowing emotional experiences – drawing from “life” – rather than “Life Drawing “.
At first I thought it was just a rip-off book filled with crap drawings. But now, given the context, I view them differently. There is both an immediacy and a sense of urgent imperative about them that is almost alarming.
If we compare, the diners appear animated in one image. In stark contrast, the other depicts a similar scene from a different angle. We as viewers have been cast as the diner at the head of the table. All eyes are upon us. They regard us expectantly as though awaiting disappointment. It is as though Emin puts us in her shoes – to experience life through her eyes. As she feels the heat of social scrutiny, so do we – at least we can imagine.
Tracey Emin, in the face of opposition from critical eyes and tongues, takes her art seriously. I see that she has respect for her art in the way that she has expressed herself – in this case – through the medium of drawing, and back-drawn monoprints. Therefore, others have taken her art seriously. At least her publisher appears to have done. The galleries who exhibit her work evidently do, unless driven entirely by monetary forces.
I question whether an artist needs the approval of everyone in “The Establishment.” Then I find myself questioning the definition of that word/phrase. I wonder what it means to “establish” oneself as an artist. Is it just the ability to sell stuff? If so, Etsy and the like would count as “establishment”. Who exactly do we mean when we say that? Gallery owner; monied individuals; or is it all just smoke and mirrors? Perhaps it’s simply the ability as an artist – like any other celebrity – to kick up a right stink about ourselves?
References:
Emin. Tracey. (2009) One Thousand Drawings. New York: Rizzoli International.
Maureen Walker's Introduction to Printmaking Blog 