Tracey Emin

At 60 years old, Tracey Emin physical status not available right now. We will update Tracey Emin's height, weight, eye color, hair color, build, and measurements.

Tracey Emin, CBE, RA (born 3 July 1963) is an English artist known for her autobiographical and confessional works.

Emin makes art in a variety of mediums, including drawing, painting, sculpture, film, photography, neon text, and sewn appliqué.

Tracey Emin, who was once the Young British Artists' "children" of the 1980s, is now a Royal Academician of the Royal Academy of Arts in London. She opened "Everybody I Have Ever Slept", a tent appliquéd with the names of everyone the artist had ever shared a bed with, was on view at the Royal Academy in London.

On a live discussion show called The Death of Painting on British television in 1999, Emin had her first solo exhibition in the United States, titled Every Part of Me's Bleeding.

She was a Turner Prize nominee later this year and unveiled My Bed, a ready-made bed consisting of her own unmade filth bed in which she had spent several weeks drinking, smoking, sleeping, and having sexual intercourse during a period of extreme emotional turmoil.

Emin is also a panelist and speaker, and she has consulted at the Victoria and Albert Museum in London, the Royal Academy of Arts (2008), and the Tate Britain in London (2005) on the role of subjectivity and personal histories in creating art.

Emin's work includes needlework and sculpture, drawing, film, and painting; with Fiona Rae, she is one of the first two female professors since the Academy was established in 1768.

Early life and education

Emin was born in Croydon, a south London suburb of south London, to an English mother of Romanichal descent and a Turkish Cypriot father. She and her twin brother, Paul, were born in Margate, Kent, Kent.

Emin's second cousin Meral Hussein-Ece, Baroness Hussein-Ece, shares a paternal great-grandfather. This ancestor, Abdullah, is said to have been a Sudanese slave in the Ottoman Empire.

Her work has been examined within the context of early adolescent and childhood violence, as well as sexual assault. When living in Margate, Emin was assaulted at the age of 13 years old, blaming assaults in the area as "what happened to a lot of girls."

(1980–82) She studied fashion at Medway College of Design (now part of the University of the Creative Arts). Billy Childish, an expelled student, was associated with The Medway Poets while in Boston. Emin and Childish were a couple before 1987, when she was the editor of his tiny press, Hangman Books, which published Childish's confessional poetry. She studied printing at Maidstone Art College (now part of the University of the Creative Arts) in 1984. She earned a first-class degree in Printmaking. Tracey Emin also encounters Roberto Navikas, a term that was later to appear prominently in her "tent" (see below).

"Who do you think had the biggest influence on your life?" she asked in Carl Freedman's Minky Manky show catalogue in 1995. "Uhm... huh?" She replied, "Uhmm... mmmm... huhm..." It's not a person. It was more than a time when going to Maidstone College of Art, hanging around with Billy Childish, who lives by the River Medway."

Emin earned a master's degree in painting in 1987, when she moved to London to study at the Royal College of Art. She had two tragic abortions after graduation, and those experiences led her to the destruction of all of the artwork she had created in graduate school, which was later described as "emotional suicide." Edvard Munch and Egon Schiele, among other things, studied philosophy at Birkbeck, University of London.

Friendhip, which is in the Royal College of Art Collection, is one of the paintings that survived from her time at Royal College of Art. In addition, a series of photographs from her early days of her early work that was not destroyed was on display at My Big Retrospective.

Emin opened The Shop at 103 Bethnal Green Road in Bethnal Green in 1993, selling T-shirts and ashtrays with Damien Hirst's picture glued to the bottom.

Emin's first solo display at White Cube, a contemporary art gallery in London, was held in November 1993. It was titled My Major Retrospective, and it was autobiographical, with personal photographs, photos of her (destroyed) early paintings, as well as items that few artists would not bother displaying in public (such as a packet of cigarettes her uncle was holding when he was decapitated in a car crash).

Emin had a friendship with Carl Freedman, who had been an early friend and collaborator with Damien Hirst, and who had co-curated seminal Britart shows, such as Modern Medicine and Gambler. They toured the United States together in 1994, driving in a Cadillac from San Francisco to New York and stopping to read excerpts from her autobiographical book Exploration of the Soul in order to finance the trip.

The couple spent time together in Whitstable by the sea, with the phrase Don't Leave Me Here deterring the last thing she said to you, which was destroyed in the 2004 Momart warehouse fire.

The exhibition Minky Manky at the South London Gallery was curated by Freedman in 1995.

Emin has said,

The result was her "tent," which was the first exhibit on display. It was a blue tent, appliquéd with the names of everyone she had slept with. The two most prominent women, as well as her twin brother, and her two abandoned children were among the many sexual partners, plus some relatives she slept with as a child.

Emin used needlework as a component of this work in a variety of her previous works. This work was later acquired by Charles Saatchi and included in the Royal Academy's popular 1997 Sensation Exhibition; it then toured Berlin and New York. In 2004, a fire in Saatchi's east London warehouse destroyed it, as well.

Emin was little known by the public until she appeared on a Channel 4 television show "Is Painting Dead?" in 1997. The program included a group discussion about Turner Prize winnings for the first year in the year's series and was streamed live. Emin walked out after being inebriated, slurred, and prostrate. "Is there really real people in England watching this show now, they're definitely interested in it, and they're really enjoying it?" says the interviewer.

Emin was shortlisted for the Turner Prize herself in 1999 and exhibited My Bed at the Tate Gallery two years ago.

The installation's obviously unnecessary and possibly unsanitary elements, such as yellow stains on the bedsheets, condoms, empty cigarette packets, and a pair of knickers with menstrual stains, were all getting a lot of attention in the media. The bed was styled as it had been when she had been in it for several days, and she had been ill, suffering from family violence.

Yuan Chai and Jian Jun Xi, two performance artists, stepped out onto the bed with naked torsos to "improve" the job, which they felt had not gone far enough.

She created a number of monoprint drawings influenced by Princess Diana's public and private life in July 1999, at The Blue Gallery, London. They Wanted You To Be Destroyed (1999) related to Princess Diana's bulimia eating disorder, while other monoprints featured affectionate texts such as Love Was on Your Side and a description of Princess Diana's gown with puffy sleeves. Other drawings The things you did to support others who wrote next to Emin of Diana, Princess of Wales, in protective clothing walking through a minefield in Angola highlighted the things you did not do. Another work was a delicate sketch of a rose drawn next to the expression "It makes perfect sense to know they killed them" (with Emin's usual spelling mistakes) referring to Princess Diana's murder mystery. Emin herself referred to the drawings, saying that they "could be considered very scrappy, new, kind of na've looking drawings" and that "it's really difficult for me to draw not about me and someone else. However, I had no idea. They're very sentimental, and there's no reason to be skeptical of it."

Emin's art is collected by Elton John, as well as George Michael. The Goss-Michael Foundation, hosted Michael and his partner Kenny Goss' exhibition in September 2007 at their Dallas-based museum, the Goss-Michael Foundation (formerly Goss Gallery).

This was the gallery's first exhibition, exhibiting a large blanket, video installations, paintings, and a number of neon works, including a special neon work George Loves Kenny (2006), which was the centerpiece of the exhibit, and developed by Emin after she wrote an article for The Independent newspaper in February 2007. Goss and Michael (died 25 December 2016) acquired 25 Emin works.

Model Jerry Hall and Naomi Campbell, film actress Orlando Bloom, who collected Emin's art, and singer Temposhark, whose lead singer collects Emin's art, are among Emin's debut album The Invisible Line, based on passages from Emin's book Exploration of The Soul. Ronnie Wood of the Rolling Stones is Emin's most well-documented friend whose paintings are inspired by Emin's work. The United Kingdom Music Hall of Fame Award was given to Madonna in 2004.

Emin was invited to Madonna's country estate Ashcombe and has been described by the singer as "intelligent and wounded, not afraid to reveal herself." "She is provocative, but she has something to say." I can relate to that." David Bowie, Emin's childhood inspiration, became a friend of the artist. According to Mike Leigh, Bowie once wrote Emin as "William Blake as a woman."

Emin created Moss Kin, a neon display based on George Michael and Kenny Goss neon. In 2004, it was revealed that this rare object had been discovered in a skip in east London. The work, which consisted of neon tubing spelling the word Moss Kin, had been mistakenly removed from a basement owned by the craftsman who made the glass. The work was never acquired by Moss and had consequently been stored in the basement of a private artist used by Emin in the Spitalfields area. When the craftsman left, it was mistakenly dumped. Emin's use of the word Kin refers to those close to her and her family members. Other examples can be found in a monoprint called MatKin, which was dedicated to her then boyfriend artist Mat Collishaw and published in 1997 as an aquatint limited edition. In pencil, Emin created a nude drawing of Kate Moss, the artist's name, as "Kate (2000)," which was signed and dated as 1 February 2000. The same photograph was released in 2006 as a limited edition etching, but Kate Moss 2000 (2006) was renamed as Kate Moss 2000 (2006). Emin's work was included in the 2022 exhibit Women Painting Women at the Modern Art Museum of Fort Worth.

In 1999, Emin's acquaintance with artist and singer Billy Childish led to the Stuckism movement. Emin told childish, who had mocked her nascent participation in experimentalism in the early 1990s, "Your paintings are stuck, you are trapped."

– Stuck!

Stuck!

Stuck!"

(that is, if you're stuck in the past for failing to endorse the YBA's view of art). He recalled the incident in the poem "Poem for a Pissed Off Wife" that appeared in Big Hart and Balls Hangman Books 1994, from which Charles Thomson, who knew them both, coined the word Stuckism later.

Emin and Childish had been on friendly terms up until 1999, but the Stuckist party's activities offended her, causing a long-running divide with Childish. When she was asked about the Stuckists in a 2003 interview, she was intrigued: they were questioned about them.

In 2001, a childish boy was sent by the Stuckist movement.

Tracey Emin's solo exhibition This Is Another Place in November 2002 to January 2003 was on display at Modern Art Oxford, marking the museum's reopening and renaming to Modern Art Oxford. This was Emin's first British show since 1997. The exhibition featured drawings, etchings, film, neon works such as Fuck off and die, you slag, and sculptures including a large-scale wooden pier made from reclaimed timber.

Emin expressed surprise at the fact that she chose Oxford because museum director Andrew Nairne had always been "a big promoter of my work." "A collection of photographs and writings relating her life, her sexual experiences, and her hopes and fears" was included in an exhibition catalog.

A fire in a Momart storage warehouse in East London on May 24, 2004, Emin's famous canvas with appliquéd letters, and Everyone I Ever Slept With 1963-1995 ("The Hut") (1999) Emin's blue wooden beach hut that she acquired with fellow artist Sarah Lucas and shared with her boyfriend of the time, Carl Freedman. Emin spoke out vehement against the loss of the artworks in the fire as a general public lack of compassion, as well as amusement. "I'm also worried about those people whose wedding was bombed last week [in Iraq], and people are digging out of under 400 feet of mud in the Dominican Republic," she said.

The British Council announced in August 2006 that Emin had been chosen to produce a show of new and old works for the British Pavilion at the 52nd Venice Biennale. Following Rachel Whiteread in 1997, Emin became the second woman to have a solo exhibition at the Biennale in the United Kingdom. Emin's work would be seen "in an international context and at a distance from the YBA generation, where she came to prominence." Andrea Rose, the British Pavilion's chairman, expressed surprise, stating that the exhibition would bring Emin's work to life "in a new context and at a distance from the YBA period, where she came to fame." "Today's people will remember it."

For the exhibit, Emin selected Borrowed Light. She created new art for the British Pavilion, using a variety of mediums, from needlework, photography, and video to drawing, painting, sculpture, and neon. A promotional British Council flyer included a photograph of a newly unseen monoprint for the exhibition entitled Fat Minge (1994), which was on display, while the Telegraph newspaper featured a photograph of a new purple neon Legs I (2007), which was loosely inspired by Emin's 2004 purple watercolour Purple Virgin series). Emin summed up her Biennale exhibition work as "pretty and hardcore."

In November 2006, Emin was interviewed about the Venice Biennale by BBC's Kirsty Wark. Emin displayed Wark's work-in-progress, which featured large-scale canvases with paintings of Emin's legs and vagina. Emin's naked open legs were depicted in Emin's paintings in 2005-6, as well as other corresponding works in her artistic output, beginning with the Purple Virgin (2004) acrylic watercolour series with strong purple brush strokes depicting Emin's naked open legs.

"It's remarkably ladylike," Emin's chairman, Andrea Rose, said during this reflection on Emin's art." There is no ladette work – there is no toilet with a poo in it – and it is also beautiful, I think. She is much more interested in formal values than people would expect, and it shows in this exhibition. It's been an eye-opening experience to work with her. Tracey's reputation for producing shows and hanging them is not positive, but she has been a joy to work with. The truth is that she has migrated a long way away from the YBAs.

She's quite a lady actually!"

The Royal Academy of Arts named Tracey Emin a Royal Academician on March 29, 2007. Emin became a member of the Royal Academy of Art, a select group of artists that includes David Hockney, Peter Blake, Anthony Caro, and Alison Wilding. Emin is eligible to attend up to six works in the annual summer exhibition due to her academic status.

Emin had previously been invited to participate in works from the R.A. Summer Exhibitions of 2006, 2005, 2004, and 2001. Emin was selected by fellow artist David Hockney to produce two monoprints, one called And I'd Love To Be The One (1997) and another on Emin's abortion, Ripped Up (1995), as part of the year's theme celebrated drawing as part of the creative process, while Emin's summer exhibition, 2005, saw Emin display a neon sculpture called Angel (2005). Her artwork was first shown at the Royal Academy in 1997 as part of the Sensation Exhibition.

Emin was invited to curate a gallery for the June 2008 Summer Exhibition. In addition, Emin gave a public talk in June 2008 about her role in the Royal Academy, the Academy's connection to the contemporary art world, and her perspective as an artist on hanging and curating a gallery in the Summer Exhibition. At the 2009 Royal Academy Summer Exhibition, she displayed her famous "Space Monkey – We Have Lift Off" print.

Between August and November 2008, Emin's first major retrospective of his work was held in Edinburgh, attracting over 40,000 visitors, breaking the Scottish National Gallery of Modern Art's record for an exhibition by a living artist.

The large-scale exhibition featured Emin's entire range of artwork from the rarely seen early work to the iconic My Bed (1998) and the room-sized Exorcism of the Last Painting I Ever Made (1996). The show featured her unique appliquéd blankets, paintings, sculptures, films, neons, sculptures, drawings, and monoprints. The Scottish National Gallery of Modern Art was the first UK venue for the exhibition, which then proceeded to the Centro Contemporáneo in Málaga, Spain, and then to the Kunstmuseum in Bern, Switzerland, 2009.

Emin donated a major sculpture to the Scottish National Gallery of Modern Art as a "thank you" to both the gallery and Edinburgh's city. The Roman Standard (2005) is a bronze pole with a 13-foot (4.0 m) bronze pole, topped by a little bird and cast in bronze. The work is expected to be worth at least £75,000.

A major survey exhibition at Hayward Gallery in London featured work from all aspects of Emin's art practice, revealing facets of the artist and her work that are often overlooked. The exhibition featured painting, drawing, photography, textiles, video, and sculpture, with no earlier works on view alongside more recent large-scale exhibitions. Especially for this solo exhibition, Emin created a new series of outdoor sculptures.

On October 6, 2011, Emin opened a site-specific exhibition at a Georgian house on Fitzroy Square. The title is taken from her book, which has served as a catalyst for a series of works created for a neoclassical house built by Robert Adam in 1794. Emin's obsession with domestic and handcrafted crafts was also displayed in the exhibition, as illustrated by a series of embroidered texts and hand-woven tapestries. "I called it because I saw a part of myself as drained and not present anymore, and I wondered if love was really real." Emin herself has explained why. Since I'm nearly 50, I'm single because I don't have children."

Emin was a mentor on the BA Great Britons Programme. She has also created a poster and limited edition print for the London 2012 Olympic and Paralympic Games, one of only 12 British artists selected. Emin carried the Olympic torch into Margate on July 19, 2012.

Emin held The Lonelines of the Soul, a group exhibition containing works by Edvard Munch in December 2020. Emin selected 19 pieces of Munch's art to be displayed alongside 25 pieces of her own. Simultaneously, she had a show at London's White Cube gallery, which also included a short Super-8 film in honor of Munch.

Emin was the first artist to perform alongside the Norwegian painter at the newly opened Munch Museum in Oslo, with Emin being the first artist to attend alongside the Norwegian painter. Latest paintings as well as her seminal work My Bed were among her pieces on sale. Emin had suffered from cancer last year and was uncertain if she would be able to see it by herself.

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Career beginnings

Emin opened The Shop at 103 Bethnal Green Road in Bethnal Green, which sold products by the two artists, including T-shirts and ashtrays with Damien Hirst's portrait stuck to the bottom.

Emin's first solo exhibition at White Cube, a contemporary art gallery in London, took place in November 1993. It was called My Major Retrospective, and it was autobiographical, including personal photographs and videos of her (destroyed) early paintings, as well as other items that few artists would not consider showing in public (such as a packet of cigarettes her uncle was holding when he was killed in a car crash).

Emin had a relationship with Carl Freedman, a long friend and collaborator with Damien Hirst, and who had co-curated seminal British art shows such as Modern Medicine and Gambler in the mid-1990s. They toured the United States together in 1994, riding a Cadillac from San Francisco to New York and stopping in between stops along the way where she gave readings from her autobiographical book Exploration of the Soul to finance the trip.

Both the couple spent time in Whitstable together, with the inscription Don't Leave Me Here transforming it into art in 1999.

Freedman curated Minky Manky at the South London Gallery in 1995.

Emin has said,

The result was her "tent" from 1963-1995, which was the first time she was on display. It was a blue tent, appended with the names of all the people she had slept with. They included sexual partners, plus relatives she slept with as a child, her twin brother, and her two abandoned children.

Emin used needlework as a component of this work in a variety of her other creations. This work was later purchased by Charles Saatchi and included in the Royal Academy's popular 1997 Sensation Exhibition; it later toured to Berlin and New York. The fire in Saatchi's east London warehouse in 2004 destroyed it, as well as the interior.

Emin was relatively unknown before she appeared on a Channel 4 television show "Is Painting Dead?" in 1997. The show was based on a group discussion about the Turner Prize for the first year and was broadcast live. Emin said she was inebriated, slurred, and swore before walking out. "Are they really authentic people in England watching this program now, they're really interested, really watching it," the interviewer says.

Emin was shortlisted for the Turner Prize again in 1999 and displayed My Bed at the Tate Gallery two years later.

There was a lot of buzz in media about the installation's apparent trivial and possibly unsanitary features, such as yellow stains on the bedsheets, condoms, empty cigarette packets, and a pair of knickers with malestrual stains. The bed was sold as it had been before, and she had been suffering from relationship difficulties.

Yuan Chai and Jian Jun Xi, two performance artists, leapt onto the bed to "improve" the project, which they felt hadn't gone far enough.

The British Museum, London, produced a series of monoprint drawings influenced by Princess Diana's public and private life in July 1999. Princess Diana's bulimia eating disorder was covered in "They Wanted You to Die (1999), while other monoprints included Love Was on Your Side and a description of Princess Diana's dress with puffy sleeves. Other drawings exemplified what you did to assist others who wrote next to a drawing by Emin of Diana, Princess of Wales, wearing protective clothing walking through a minefield in Angola. Another work was a delicate sketch of a rose drawn next to the phrase "It makes perfect sense to know they killed you" (with Emin's common spelling mistakes) referring to Princess Diana's conspiracy theories regarding Princess Diana's death. Emin herself referred to the drawings, saying that they could be "very scrappy, new, kind of na've looking drawings" and that "it's really difficult for me to do drawings not about me and others. But I didn't have a lot of ideas. They're very sentimental, and there's nothing cynical about them."

Emin's work is collected by Elton John, as well as George Michael. In September 2007, Michael and his partner Kenny Goss held the A Tribute To Tracey Emin exhibit at their Dallas-based museum, the Goss-Michael Foundation (formerly Goss Gallery).

This was Emin's first exhibition, featuring a variety of Emin works from a large blanket, video projects, prints, paintings, and a number of neon sculptures, including a special neon piece George Loves Kenny (2007), which was the centerpiece of the exhibition, authored by Emin after she wrote an article for The Independent newspaper in February 2007. Goss and Michael (died 25 December 2016) acquired 25 Emin works.

Jerry Hall and Naomi Campbell, film actor Jerry Hall, and singer Carlos Emin's debut album The Invisible Line, inspired by passages from Emin's book Exploration of The Soul, are two other notable artists and performers who support Emin's art. Ronnie Wood of the Rolling Stones is Emin's most well-known friend, whose own paintings are inspired by Emin's work. Emin honoured Madonna with the UK Music Hall of Fame award in 2004.

Emin was invited to Madonna's country estate Ashcombe and has been described by the singer as "intelligent and wounded, not afraid to reveal herself." "She is provocative, but she has something to say." I can relate to that." David Bowie, Emin's childhood inspiration, became a collaborator with the artist. "William Blake as a woman," Bowie wrote about Emin once, written by Mike Leigh.

Emin created Moss Kin, a neon version of George Michael and Kenny Goss' neon. In 2004, it was announced that this rare work had been discovered dumped in a skip in east London. The work, which consisted of neon tubing spelling the word Moss Kin, had been mistakenly dropped from a basement owned by the craftsman who made the glass. The work was never collected by Moss and had thus been stored for three years in the basement of a private artist used by Emin in the Spitalfields area. When the craftsman moved, it was mistakenly dumped. Emin's work Kin is based on a recurring theme of her mother's to talk to those close to her and her families. In addition, MatKin, a monoprint dedicated to her then boyfriend artist Mat Collishaw and released as an aquatint limited edition in 1997, there are other examples. Kate Moss, also known as Kate (2000), was drawn in pencil by Emin in January 2000. In 2006, the same photograph was released as a limited edition etching, but as Kate Moss 2000 (2006), it was renamed as Kate Moss 2000 (2006). Emin's work was included in the 2022 exhibit Women Painting Women at the Modern Art Museum of Fort Worth.

In 1999, Emin's acquaintance with artist and singer Billy Childish gave rise to the Stuckism movement. "Your paintings are stuck, you are trapped," Emin told childish, who had mocked her recent shift to conceptualism in the early 1990s.

– Stuck!

Stuck!

Stuck!"

(You're stuck in the past for not accepting the YBA's art criticism). He recalled the incident in the poem "Poem for a Pissed Off Wife" which appeared in Big Hart and Balls Hangman Books 1994, from which Charles Thomson, who knew them both, coined the term Stuckism later.

Up until 1999, Emin and Childish were on friendly terms, but the Stuckist group offended her and resulted in a long distance with Childish. When she was asked about the Stuckists in a 2003 interview, she was asked about them.

In 2001, a childish boy was removed from the Stuckist movement.

Tracey Emin's solo exhibition This Is Another Place was on display at Modern Art Oxford from November 2002 to January 2003, marking the museum's reopening and renaming to Modern Art Oxford. This was Emin's first British exhibition since 1997. The exhibition featured drawings, etchings, film, neon works such as Fuck off and die, you slag, and sculptures, including a large wooden pier made from salvaged timber.

Emin said she chose Oxford because museum director Andrew Nairne had always been "a big promoter of my work." "A collection of photographs and essays expressing her life, her sexual experiences, and her fears" were included in an exhibition catalog.

Emin's blue wooden beach hut that she bought with fellow artist Sarah Lucas and shared with her boyfriend of the time, Carl Freedman, died on May 24th, 2004. Emin spoke out vehement against the artworks' loss in the fire's ostensible general lack of sympathy and even amusement. "I'm also worried about those people whose wedding was bombed [in Iraq], and people who were dug out of under 400 feet of mud in the Dominican Republic," she said.

The British Council announced in August 2006 that Emin had been selected to produce a display of new and past work for the British Pavilion at the 52nd Venice Biennale in 2007. Following Rachel Whiteread's 1997 appearance at the Biennale, Emin became the second woman to produce a solo exhibition for the United Kingdom at the Biennale. Emin's work would be seen "in an international context and at a distance from the YBA period in which she rose to prominence," according to Andrea Rose, the British Pavilion's commissioner. "A.I. mused" in his book "The Artists in the Renaissance of Mankind."

For the exhibit, Emin chose Borrowed Light. She created new work for the British Pavilion, utilizing a variety of media, from needlework, photography, and video to drawing, painting, sculpture, and neon. A promotional British Council flyer included an image of a previously unseen monoprint for the exhibition Fat Minge (1994) that was on display, while the Telegraph newspaper featured a photograph of a new purple neon Legs I (2007), which was mainly inspired by Emin's 2004 purple watercolour Purple Virgin series). Emin summed up her Biennale exhibition work as "Pretty and hardcore."

In November 2006, Emin was interviewed about the Venice Biennale by BBC's Kirsty Wark. Emin displayed Wark's work-in-progress, which featured large-scale canvases with paintings of Emin's legs and vagina. Emin's naked open legs were depicted in Emin's paintings in 2005-6, as well as others, such as Asleep Alone With Legs Open (2005), Reincarnation (2005) collection, and Masturbating (2006), among other things, a significant new development in her artistic output, starting with the Purple Virgin (2004) acrylic watercolour series with their strong purple brush strokes depicting Emin's naked open legs.

"It's remarkably ladylike" in Emin's contribution to this reflection. There is no ladette work – no toilet with a poo in it – and it's actually lovely, too. She is much more interested in formal values than people might expect, as shown by this exhibit. It's been an exciting experience for her. Tracey's reputation for producing shows and hanging them is not positive, but she has been a joy to work with. It shows that she has migrated a long way away from the YBAs.

She's quite a lady actually!"

Tracey Emin was named a Royal Academician by the Royal Academy of Arts on March 29, 2007. Emin became a member of the Royal Academy of the United States, joining a select group of artists that includes David Hockney, Peter Blake, Anthony Caro, and Alison Wilding. Emin is eligible to exhibit up to six works in the annual summer exhibition due to her academic status.

Emin had been invited to participate in performances at the R.A. Summer Exhibitions of 2007, 2006, 2005, 2004, and 2001. Emin was one of two monoprints on display at the Summer Exhibition in 2004, one named And I'd Love To Be The One (1997) and another on Emin's abortion, Ripped Up (1995), the year's theme celebrated drawing as part of the creative process, while others on display, while 2007 saw Emin debuting a neon work called Angel (2005). Her art was first on view at the Royal Academy as part of the Sensation Exhibition in 1997.

Emin was invited to curate a gallery for the Summer 2008 Summer Exhibition. In June 2008, Emin conducted a public talk by art critic and broadcaster Matthew Collings, exploring her position in the Royal Academy, the Academy's relationship to the contemporary art world, and her perspective as an artist on hanging and curating a gallery in the Summer Exhibition. At the 2009 Royal Academy Summer Exhibition, she displayed her famous "Space Monkey – We Have Lift Off" print.

During August and November 2008, Emin's first major retrospective of his work in Edinburgh attracted over 40,000 visitors, breaking the Scottish National Gallery of Modern Art's record for an exhibition of living artists.

The full collection of Emin's art ranged from seldom seen early work to the iconic My Bed (1998) and the room-sized Exorcism of the Last Painting I Ever Made (1996). The show featured her unique appliquéd blankets, paintings, sculptures, films, neons, sketches, and monoprints. The Scottish National Gallery of Modern Art was the only UK venue for the exhibition, which then moved to the Centro Arte Contemporáneo in Málaga, Spain, and then to the Kunstmuseum in Bern, Switzerland, 2009.

Emin gifted a major sculpture to the Scottish National Gallery of Modern Art as a "thank you" to both the gallery and Edinburgh's city. A 13-foot (4.0 m) bronze pole, surmounted by a small bird, was cast in bronze by Roman Standard (2005). The work is estimated to be worth at least £75,000.

A major survey exhibition at Hayward Gallery in London in May–August 2011 featured work from all aspects of Emin's art practice, revealing facets of the artist's art practice and her work that are often overlooked. Painting, drawing, photography, textiles, video, and sculpture were among the exhibits on view, with few artists having seen early works in comparison to the more recent large-scale installations. Especially for this solo show, Emin created a new series of outdoor sculptures.

On October 6, 2011, Emin opened a site-specific exhibition at a Georgian house on Fitzroy Square. The title is taken from her book, which has served as a catalyst for a series of works created for a neoclassical house built by Robert Adam in 1794. Emin's obsession with domestic and handcrafted crafts continued in the exhibition, which included a series of embroideries and handwoven tapestries that extended Emin's passion for domestic and handcrafted crafts. Emin herself has said, "I called it because I saw a portion of myself as dry and not there anymore, and I wanted to challenge the whole idea of love and passion, which is why." Since I'm nearly 50, I'm single because I don't have children.

Emin was a mentor on the BA Great Britons Programme. She also created a poster and limited edition print for the London 2012 Olympic and Paralympic Games, one of only 12 British artists chosen. Emin carried the Olympic torch through Margate, England, on July 19, 2012.

Emin held The Loneliness of the Soul, a gallery exhibition featuring works by Edvard Munch, at the Royal Academy of Arts in December. Emin selected 19 pieces of Munch's art to be displayed alongside 25 pieces of her own. Simultaneously, she had a show at London's White Cube gallery which also included a short Super-8 film in honor of Munch.

Emin was the first artist to exhibit alongside the Norwegian painter at the recently opened Munch Museum in Oslo, with Emin being the first artist to attend alongside the Norwegian painter. New paintings, as well as her seminal painting My Bed, were among her works on display. Emin had suffered from cancer in the year before the show and was uncertain if she'd be able to see it herself.

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