Two Critics One Piece : Tracey Emin’s Controversial Bed
Tracey Emin, has evoked much controversy over the years among critics, audiences and others within the art world. Specifically, her piece, My Bed, strikes subject matter that has been described as hard to digest yet, relatable in my opinion. It displays Emin’s personal bed with used items including period-stained underwear, vodka bottles, contraceptive pills, stained sheets, and other items for disposal. However, they remain. This work fascinates me. However, while finding two critics that discuss this piece, I only came across critics that were brutal not only towards the piece but towards Tracey as well. Two critics, both writing negative reviews are discussed below including Melanie McGrath and Adrian Searle.
Their writing styles differ yet feel both like two bullies picking on someone because they are jealous. McGrath for instance questions Emin’s artistic choices by wondering if she even is an artist. Whereas, Searle attacks Emin for being a bore as well leaving no room for audience or even critical reflection. He reacts immaturely to her subject matter with his distaste for Emin’s personal choices to display items that were created by real life activities. McGrath, on the other hand, uses her writing to create a sort of open-ended discussion with the reader. This questioning of an artist's placement in the art world is open to interpretation. However, Emin evokes a rightful place without the need for this questioning; her work is known throughout the world.
Searle is a perfect example of a critic with too much power. In relation to our last week’s reading of the Critic, he is exactly the critic many of them discussed with the power of influence and the power to destroy. However, McGrath even though she questions the artist she still allows the audience to decipher for themselves if Emin is an artist or a sham. Discussing the bed in terms of its physical form then depicts her own thoughts that can be taken or left. Searle, on the other hand, leaves no mercy. He convinces the audience that the sheer engagement with the audience was due to the shock factor and the placement within the gallery space. Not that it was a rightful piece of art in the first place. The engagement in this piece by Searle in particular, left me in utter distaste for his writing or future writings of his. McGrath, used composure to inform and to seek the understanding of others. Yet, all publicity is good publicity even when critics slander your name.
In conclusion, these two critics both approached Tracey Emin’s work with utter confusion and disgust in most ways. However, in my opinion, I don't really feel comfort nor interest in either. I stand by the way that these critics can be interrupted but their opinions have not altered my feelings and interest towards Emin’s work. Installation work like this is exactly the type of contemporary art forms I am into. It not only allows one to engage around the piece but to place them inside their shoes in a 3D form.
Their Articles are Included Below:
Adrian Searle -
https://www.theguardian.com/artanddesign/1999/oct/20/20yearsoftheturnerprize.turnerprize1
Melanie McGrath -
Comments
Post a Comment