Give Tracey Emin a break

I'm not one of these people who thought Tracey Emin was the mutt's nuts in the early noughties, before dropping off a little later on in the decade. I found her overbearing and attention seeking as a teenager (there's hypocrisy if ever I heard it). Perhaps I've become more open minded or perhaps her art is calmer now, but I'm definitely growing to understand her more.

Coffin-dodging at fifty, TE was interviewed in yesterday's copy of Time Out (click here to read the full interview). The whole thing pivoted on the fact that she's grown up, and has more of a responsibility for the arts in the public eye (hence why she is one of the faces of M & S nowadays). She made a point about Louise Bourgeois being the costliest female artist at auction - which still means she's worth about a gazillionth of her male counterparts. In the interview, she seemed more mature, and therefore provided less of a barrier between me and her art. Before, I guess I just found it difficult to see the art when the artist seemed so much bigger.

Anywho, this interview didn't go down too well at The Guardian HQ (click here to read the full article). Jonathan Jones said she was dull, an artist with nothing left to say. He even went so far as to say her comment on Louise Bourgeois was a self-serving notion: "It's a glib reduction of feminist art to just see it in these obviously self-interested terms of price," he wrote.

Low blow, JJ. I don't think it was fair for him to pick on TE for bringing up the subject of money. Earlier in the interview, when asked if her work is about sex or love, she said: "I've always made work about love. It's only because sex sells and love doesn't, so the media pick up on what they can write about and sell". Money sells, too. There were endless ways TE could have demonstrated the gulf between male and female success in the art world, but bringing it down to the pennies is one way to make the issue relatable for the average reader.

As an idealistic art aficionado in my twenties, I have a fair amount to say about the representation of laydeez in the art world. And I don't think anyone, not even you, JJ, can say that TE is doing anything but boosting their profile.

The dust may have settled on Young British Art, but that's no bad thing. The dust has also settled on Dada, Impressionism, and every other movement not currently active. I never thought I'd be the one saying this, but give Tracey Emin a break.

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