A few FUCKs executed in string drove home the not so subtle title as well as pointed to the artist’s continued interest in the pleasure and pain of a good buggering. A large appliquéd and embroidered blanket ( Fuck Fuck Fuck You ), for instance, appeared nearly devoid of content, though on closer inspection it bore an image of the rearing pelvis of a woman, legs spread and surrounded by a school of cartoonish sperm. The immediate effect of the show, titled “I Can Feel Your Smile,” seemed to suggest that Emin had chosen to quite literally tone things down. Yet, while maintaining her now-familiar aesthetic, a particular blend of schoolgirl scrawl and delicate draftsmanship, Emin opted here for a relatively muted palette, with most of the works on view-blankets, sketches, and small fabric pieces among them-executed in pastel colors or shades of white. Here, as ever, the artist seemed mainly preoccupied with mourning the absence of some beloved who was unable or unwilling to stick around. Emin’s latest New York exhibition was, true to type, rife with phrases that run the gamut from badass to pathetic. She is best known for brash, faux-folksy, handmade goods, including colorful quilts appliquéd with (regularly misspelled) phrases such as PSYCO SLUT and her infamous (and now infamously incinerated, in 2004’s Momart warehouse fire) Everyone I Have Ever Slept With 1963–95, 1995. Just days before her November opening at Lehmann Maupin, her entry from abroad bore the subtitle “When I’m miles from home I sometimes have a clear view-and God, my life’s a mess.” The refrain is a familiar one from this artist who came to prominence during the ’90s YBA explosion.Įmin’s art practice has, from its inception, been steeped in provocative, confessional language. In 2005, she published a memoir of sorts with the self-mythologizing title Strangeland, and she has also taken to writing her own weekly column in an English newspaper, The Independent. Tracey Emin claims not to have been reading much lately, but it’s obvious that she remains invested in the poignancy and poison of words.
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