A major retrospective of Tracey Emin's work, "A Second Life," is on view at Tate Modern in London. The exhibition presents the artist's deeply personal and confessional body of work, including iconic pieces like "My Bed" and "Exorcism of the Last Painting I Ever Made," which chronicle intimate experiences of love, trauma, and self-exploration through text, objects, and raw imagery.
À la Tate Modern, la bouleversante renaissance de Tracey Emin
Tracey Emin has returned to the Tate Modern for a major retrospective titled "A Second Life," marking a poignant milestone in her career. The exhibition features over a hundred works, including the iconic and once-scandalous "My Bed," which first catapulted her to international fame during the 1999 Turner Prize. This survey explores her evolution from the "enfant terrible" of the Young British Artists to a Dame of the British Empire, showcasing her multidisciplinary practice across painting, sculpture, and installation.
Harry Weller, Tracey Emin’s long-time creative director, provides an intimate look into the artist’s studio practice ahead of her major exhibition at Tate Modern. Weller describes a high-intensity environment where Emin works without preparatory sketches, often entering a trance-like state of "primal instinct" to produce her visceral paintings and text-based works. His role involves acting as a creative antagonist, challenging Emin during the painting process to push the boundaries of her work while documenting the spontaneous poetic fragments she produces.
Tate Modern has launched "Tracey Emin: A Second Life," the largest survey exhibition of the British artist’s work to date. Spanning 40 years of her career, the show features over 100 works including her iconic 1998 installation "My Bed," early textile pieces, and recent bronze sculptures. The exhibition, supported by Gucci, traces Emin’s journey from the Young British Artists (YBA) era to her contemporary practice, which addresses her recent experiences with cancer and disability.
Tracey Emin’s major retrospective, "A Second Life," has opened at Tate Modern, marking a significant milestone in the artist's career following her recovery from bladder cancer. The exhibition surveys her evolution from the provocative "Young British Artist" era—featuring iconic works like the 1998 installation 'My Bed' and her early quilted blankets—to her more recent, expressive oil paintings and bronze sculptures. The show specifically highlights her 1996 film 'How it feels,' positioning her early 1990s abortion as the central, transformative event of her life and artistic practice.
London's spring art season is anchored by several major institutional surveys, most notably Tracey Emin’s comprehensive exhibition "A Second Life" at Tate Modern. Other significant showcases include Hurvin Anderson’s exploration of Caribbean diaspora at Tate Britain, David Hockney’s new works at Serpentine North, and Cecily Brown’s long-awaited institutional homecoming at Serpentine South. The season also features diverse media, from Chiharu Shiota’s immersive yarn installations at the Hayward Gallery to Isaac Julien’s filmic explorations at the Cosmic House.
Tracey Emin is the subject of a major retrospective at Tate Modern titled 'A Second Life,' which spans her career from her first solo show in 1993 to recent works. The exhibition is structured thematically around pivotal life events and includes a documentary addressing her 2020 bladder cancer diagnosis and subsequent surgery.