About Tracey Emin CBE RA
Tracey Emin, CBE, RA is an English artist and part of the group known as Britartists or YBAs (Young British Artists).
In 1997, her work Everyone I Have Ever Slept With 1963–1995, a tent appliquéd with names, was shown at Charles Saatchi's Sensation exhibition held at the Royal Academy in London, which, along with an infamous television appearance, gained her considerable media exposure. Unfortunately, in 2004, her tent artwork was destroyed in the MoMart warehouse fire.
In 1999, Emin had her first solo exhibition in the United States at Lehmann Maupin Gallery, entitled Every Part of Me's Bleeding. Later that year, she was a Turner Prize nominee and exhibited My Bed — an installation, consisting of her own unmade dirty bed with used condoms and blood-stained underwear.
In March 2007 Emin was chosen to join the Royal Academy of Arts in London as a Royal Academician. She represented Britain at the 2007 Venice Biennale. In 2008, her first major retrospective 20 Years opened at the Dean Gallery in Edinburgh. The exhibition toured Europe until 2009.
In May 2011, Emin's largest major solo exhibition in a public space was held at Hayward Gallery, London titled Love Is What You Want. In April 2011, she opened the Turner Contemporary art gallery in Margate with Jools Holland and, between May and September 2012, she held her first exhibition there, entitled She Lay Down Deep Beneath The Sea.
Emin is a panellist and speaker: she has lectured at the Victoria and Albert Museum in London, the European Graduate School in Saas-Fee, Switzerland, the Art Gallery of New South Wales in Sydney (2010), the Royal Academy of Arts (2008) and the Tate Britain in London (2005) about the links between creativity and autobiography, and the role of subjectivity and personal histories in constructing art. Emin's art takes many different forms of expression including needlework and sculpture, drawing, video and installation, photography and painting.
In December 2011, she was appointed Professor of Drawing at the Royal Academy; with Fiona Rae, she is one of the first two female professors since the Academy was founded in 1768.
And Still My Body Drank [c. 1986]
Artist's Book, 27.6 x 40.3cm
Donated by John White, 2014
Sixty A Day Woman 
Original Lithograph in colours, published by the Curwen Studio, 76 x 55.5cm
Anonymous Donation, 2014
This appears to be the first print by Tracy Emin to be published. It was proofed and editioned by John White at the Curwen Studio. White was Emin’s tutor in the Printmaking Department at Maidstone College of Art. He invited Emin to contribute to an artist’s experimental portfolio in 1986, the year she graduated with a First. Emin travelled to London from her home in Rochester while working on the Sixty a Day Woman. Other artists who were contributing to the experimental print portfolio included Prunella Clough, Avis Newman and Basil Beattie. John White later extended the experimental scheme to Chelsea College of Art where he was visiting lecturer; artists working on the scheme at Chelsea included Patrick Heron, Amanda Faulkner, Yuko Shiraishi, Chloe Cheese and Maria Chevska. Emin continued with proposed illustrations of The Ancient Mariner – but this was postponed with the distraction of starting at the Royal College of Art.
During her tenure at Curwen Emin met Michael Rothenstein whose graphic technique she admired, Michael was encouraging and they both contributed to a mixed show at the Angela Flowers Gallery. It was the first time that Emin had shown in a commercial gallery in London. Her contribution was White Bridge at Leiden, a lithograph she had completed at Maidstone (Sixty a Day Woman was incomplete when the show opened). Edward Bawden, another much revered artist and illustrator, visited the tiny studio at the same time.
The subject of Sixty a Day Woman is complex. Its graphic foundation is the tall ships race that was held at Emin’s home ground of the Medway River and its estuary. The woman referred to is a lady who frequented the dockyard bars and smoked sixty a day and was drawn by Emin during her visits to the pubs, there were nuances about the woman’s additional activities. The central body of the print consists of overlapping colours drawn with diluted lithographic tusche; the black border has pictures scratched through with snakestone to give images in negative that include Rochester Castle – Emin and Billy Childish (the founder of ‘Stuckism’ and a major influence on Emin) lived very close by.
Emin's relationship with the artist and musician Billy Childish led to the name of the Stuckism movement in 1999. Childish, who had mocked Emin's new affiliation to conceptualism in the early '90s, was told by Emin, "Your paintings are stuck, you are stuck! – Stuck! Stuck! Stuck!" (that is, stuck in the past for not accepting the YBA approach to art). He recorded the incident in the poem, Poem for a Pissed Off Wife from which Charles Thomson, who knew them both, later coined the term Stuckism.
Billy Childish wrote Sixty a Day Woman in 1985; the woman in question being Emin herself.
60 a day woman
she stubs out her cigi and imidiatly
lites up another
- can i have one?
- no i havent got any
- youve got a whole packet
- no ive only got 15
thats 10 for tonite and 5 for the morning
so thats none
Two Pigment Prints: Tattoo 
Print on Wove Paper
Anonymous Donation, 2014
Tracey Emin's intimately scaled Tattoo in two parts - one features Polaroid snapshots of Tracey's various tattoos whilst the other features handwritten text of Tracey bemoaning the fact that she ever had them done in the first place. The work combines photography and text to reveal an insight into the tattoos that adorn the artist's body. Self-referential, Tattoo has the highly personal, diaristic quality that typifies Emin's work, from large-scale installations such as 'My Bed' to her smaller, intimate monoprints and photographic pieces.
Lithograph, ed. of 300, 76 x 60cm
Anonymous Donation, 2015
Tracey Emin dedicated this print to the 2012 Paralympics Games and it was reproduced on the official event posters.