Archives for posts with tag: Tracey Emin

Tracey Emin

Tracy Emin‘s ‘My Bed‘, part of the spurned Charles Saatchi collection, sells at auction to Jay Jopling at the White Cube Gallery for $4 million.

Jay originally sold it to Charles Saatchi for $300,000.  Why did Jay Jopling want it back so badly?  Sentimental?

No.  Buying and selling art at auction determines international prices for all gilt-edged (and emerging) artists.

The art market remains totally unregulated.  An audacious art market ploy,  it is an open secret that gallerists operate a cabal that controls bidding at auction, maintaining an artists credibility and in this case artificially inflating Tracey Emin’s waning prices.

This con is not illegal.

Transforming art of questionable value into work of capital value that can be tendered with the Inland Revenue.  Money laundering in plain sight until the ‘art work’ has an ersatz value all of its own… independent even of its secondary market value, it can then be offered to the State as an asset by its owner, in place of whatever they owe in taxes.  The Lucian Freud estate recently traded 15 million gbp worth of Art in lieu of death duties.

A foot note: Tracy hid in her bed for three days presumably on housing and other benefits. Benefits she received for 30 years. Benefits she, as a Tory, wants to deprive others.

Wanna read about the bed….

A consummate storyteller, Tracey Emin engages the viewer with her candid exploration of universal emotions. Well-known for her confessional art, Tracey Emin reveals intimate details from her life to engage the viewer with her expressions of universal emotions. Her ability to integrate her work and personal life enables Emin to establish an intimacy with the viewer.

Tracey shows us her own bed, in all its embarrassing glory. Empty booze bottles, fag butts, stained sheets, worn panties: the bloody aftermath of a nervous breakdown. By presenting her bed as art, Tracey Emin shares her most personal space, revealing she is as insecure and imperfect as the rest of the world.

Billy Childish 2/1/2011

I spent the morning writing lists.

Decided NOT to go to Florence as I couldn’t make the bloody SNCF website take my frigging credit card.  So, I booked into Dean Street Town House and decided to spend some days in London instead.  After all..London is by far a more exciting city than Florence.

By Midday I had made all manner of plans with various friends.  Toby Mott, Tim and others.

Whilst in town have resolved to throw myself into AA meetings, which I have been loathed to do since I arrived.

The day could have ended there but, on a whim, decided to pop in on artist/writer/rocker/father of two Billy Childish who is enjoying something of an art world reprise.

The day would get not only very much better but also very expensive.

I have known Billy since we were at Medway Art College Foundation Course in the late seventies.   Another one of my up and down explosive relationships…but I have always been a great supporter of his and he me.  An unlikely friendship.

When I lived in Whitstable I would spend most Sunday afternoons with Billy and his Mother June.  Delicious roast chicken lunch every Sunday.

For the longest time I thought that he would end up like artist and dandy Sebastian Horsley:  successful once dead. Thankfully that has not come to pass.

Billy’s monumental new work has become monumentally well received.  After a sell out show at the Basel Art Fair and a major New York exhibition in an important gallery planned for the end of the year I can perfectly understand why he seems so confident.

These new paintings are unbelievably beautiful and really hard for the Art Establishment to ignore.   The new work has an impeccable provenance.   Obvious influences include German Expressionists: Erich Heckel, Kirchner, Nolde.

Dreamlike reworking of earlier paintings as well as bold painterly portraits of Billy’s great heroes (Jean Sibelius) and when I was there, an epic series of paintings reworking images from the Battle of Wounded Knee.

Billy has been cruelly left out in the cold for nearly thirty years.  The art world added insult to injury by choosing to patronize the second-rate antics of Tracy Emin over her acknowledged mentor and ‘inspiration’.

I remember introducing Jay Jopling to Billy in Whitstable one Sunday afternoon and was shocked by Jay’s indifference.  Jay told me after the meeting that he thought Billy ‘aggressive and tricky’.

It brings a tear to my eye to see him finally and rightfully accepted into the fold.

Today I filmed him painting in his studio.

People ask him how long it takes to paint a painting.   “What can I say?”   Stabbing at a ten foot high canvas with his charcoal.   “An afternoon or thirty years?”

The new work is huge.

Of course it’s huge!  He is no longer restricted…physically…no longer painting in his bedroom.  He is being acknowledged.  He has a huge studio.  His wings no longer clipped.

These paintings are important.

We talked at length about Tracy Emin his long time ex girlfriend…who, when he saw her the time before last, rudely told him that she could not be bothered to hang out with anyone who ‘hadn’t realized their potential‘.

Tracy!  What a pompous cow!  Liar to boot.

Anyway, since the upturn in his fortunes she is suddenly very friendly with Billy.  He will, by far, crush her with his fame and fortune….even though he has no intention of doing either.

Tracy is a silly girl…she believes in her own greatness whilst all the time using made up stories to fuel interest in it.    Tracy, you mad cow…listen to me…we all realize our potential sooner or later…sometimes quickly…sometimes slowly.

I have a huge collection of Billy’s work.   Beautiful things.

Julie, Scout and Billy 2/1/11

Spent the past couple of days in London. Stayed at Dean Street Town House which is just perfect.  Perfectly well-appointed.  Huge rooms, pale pink curtains, heavily interlined.  A wonderful shower and a great coffee-making facility.  Delicious, hand-made biscuits.  The little dog and I luxuriated in acres of white linen and huge, fluffy pillows.

This morning I walked to Oxford Street through Golden Square.  Lovely to be home in London.  Lovely.  I was stopped by a beautiful, blue-eyed youth who wanted to talk about the little dog.

The beautiful youth not withstanding the streets are unusually crammed with ugly British people Christmas shopping.  Big faces on bald heads.  Prematurely middle age.  Marching up and down Oxford Street clutching at grim paper bags and their final straw.  Pasty, miserable, bespectacled boats.

Boat race=face.

The damp streets.  The gray sky.  Oh this is my darling England.

Stopped in at a pop up gallery on Berwick Street and bought:

By Christian Brett.

I thought in the circumstances..very appropriate!

Anyway, if you are interested in this and other work go to:

www.picturesonwalls.com

As a free gift, comes with every purchase, they gave me an original art work by Banksy….a brown paper bag with a Marks and Spencer type logo that reads ‘Marks and Stencils’ and is already selling on eBay for ninety quid.

Had a long chat with the curator Sam (knows Wendy Asher) who felt that the whole STREET ART movement had been suspended in aspic for the past decade and I think that he may very well have hit the nail on the head.  He didn’t feel as if he had ‘grown up’ that things had remained static, unevolved, complacent.

My own contemporary art world gripe: how come so few artists have anything relevant to say about world altering current events like Iraq?  For instance?  Who is making work about that?

Most conceptual, contemporary art is so bloody insular and self obsessed.   The entitled, bloated Tracy Emin (for instance) has become unashamedly bourgoise and so, I am sad to say, are the rest of the YBA wankers.

Why make work about a corrupt war when I can tell you all about my vagina/blood/self?

The art of ME.  I am all I ever think about… etc.

It’s Jay’s fault.  He loves a good title and a decorative flourish.  Jay Jopling has never been interested in political art and that, my friends, is very sad.

I mentioned Joseph Kosuth to Sam the pop up shop curator as an example of an artist who might have an opinion about the war and the bloody peace.

What is conceptual art?  The ‘value’ of particular artists after Duchamp can be weighed according to how much they questioned the nature of art.

Conceptual art is based on the notion that the essence of art is an idea, or concept, and may exist distinct from and in the absence of an object as its representation. It is called Idea art, Post-Object art, and Dematerialized art because it often assumes the form of a proposition (i.e., a document of the artist’s thinking) or a photographic document of an event.

Conceptual art practices emerged at a time when the authority of the art institution and the preciousness of the unique aesthetic object were being widely challenged by artists and critics.

Conceptual artists interrogated the possibilities of art-as-idea or art-as-knowledge, and to those ends explored linguistic, mathematical, and process-oriented dimensions of thought and aesthetics, as well as invisible systems, structures, and processes.

Artists such as Joseph Kosuth and members of the Art & Language group wrote theoretical essays that questioned the ways in which art has conventionally acquired meaning. In some cases such texts served as the art works themselves.

Dinner with Nicola and Chris on Saturday night.  Lovely.  We ate oysters, game pie and vegetables.  Ended up flirting with a cute doorman with footballers thighs in some club on Dean Street.  He was ‘straight’ so I walked away.  Damn.

This evening I met Charlie at a huge ‘A’ gay Christmas event.  I met loads of people.  Lovely (sexy, charming, witty and down-to-earth) Dutch/Kiwi man and his friend but the BEST was a gallerist/singer songwriter called Robert Diament who I could totally FALL for.  I kissed him goodnight.

Out sexy gay man with a brain.  Huh?  How did that happen?

Well, it’s not going to happen  In the cold light of this sober day (Monday morning) he’s far too young and until my heart is mended…I really can’t imagine letting anyone near me.

Drove back to Whitstable with Alma who is very funny and we giggled for miles.

Anyway, as I have said before..after letting you know my initial impressions of someone ‘special’ I won’t be writing about them again.  Can you tell that I am having a nice time?  That I am happy?  Can you?  I am safe and warm (house is a bit chilly) and enveloped by love?

I forgot to mention yesterday…I bought a hat at Kokon to Zai.  It is rather splendid.

Then I went to bed…good night…sweet dreams.


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