Скачать или смотреть Tracey Emin - "Everyone I Have Ever Slept With 1963–1995" (1995)

Described for the visually impaired and art Lovers, that loves listening to great art.

The image shows a tent installed in an indoor setting, likely a gallery or exhibition space. The tent is dark blue and is set up on a wooden floor. Its entrance is partially open, revealing a brightly lit interior. Inside the tent, there is a quilt-like structure with various names stitched into it using colorful fabric patches. On the lower edge of the tent's entrance flap, large red numerals "1963 = 1995" are prominently displayed, stitched in a contrasting red color against the dark blue fabric.

Inside the tent:

On the left side, panels filled with names are visible, sewn onto a background that resembles a quilt.
The floor inside is covered with a similar quilt-like material, with other names sewn into the fabric.
The lighting from within highlights the patchwork design and colorful patterns.
Context

The artwork is titled "Everyone I Have Ever Slept With 1963–1995," created by British artist Tracey Emin in 1995. This piece is commonly known as "The Tent" and is a significant work in Emin's career and contemporary art. It consists of a tent with appliquéd names of people the artist had slept with, referring not just to sexual partners but also to family members, friends, and other close relationships. It was first exhibited in 1995 and became one of Emin's signature works, contributing to her reputation as a key figure in the Young British Artists (YBAs) movement.

Art Historical/Theoretical Context

Society & Gender Aspects:
Emin's work often explores themes like intimacy, relationships, and identity.
The piece challenges traditional ideas of relationships and exposes vulnerability, as it combines public display with intensely personal content.
Queer & Social Aspects:
The diversity of names in the tent reflects an openness to different relationships, possibly touching upon bisexual or queer relationships.
It's also an exploration of intimacy that doesn't strictly adhere to norms.
Movement:
Part of the YBA movement, known for its provocative and unapologetic art.
Works like this broke traditional norms in the art world and blurred the boundaries between personal life and art.
Installation Art:
The tent is not merely an object but an environment that immerses viewers in its intimate narrative.
By inviting viewers to peer inside, Emin challenges them to engage directly with the intimate and personal.
Cultural & Historical Influence:
Reflects 1990s culture, where discussions around intimacy and relationships were becoming more open and nuanced.
Emin often integrates her own life into her work, thus continuing the tradition of autobiographical art in contemporary culture.
Overall, "Everyone I Have Ever Slept With 1963–1995" is both a personal diary and a social statement, providing a glimpse into the artist's world and pushing boundaries around societal norms regarding intimacy and relationships.

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