Tracey Emin - Contemporary Art Evening Sale London Friday, October 12, 2007 | Phillips

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  • Provenance

    Private collection, Germany

  • Literature

    L. Hartl, T. Niederbühl, B. Schwenk, Wider Das Vergessen, Munich, 2002, n.p (illustrated)

  • Catalogue Essay

    Tracey Emin has done more for public awareness of art, both as a force in its own right and as a necessary part of life, than any other artist. Her capacity to make the personal into the transpersonal lifts it from ordinary lived experience into a place of confrontation and ultimately, of meditation. She can do this at the same time as destroying the remoteness of the artist. Emin lives in the thick of life, but she never mistakes life itself for what she can make of it. It is the making of it that allows the rest of us to look at it – and to look at her, which she allows us to do. If you believe, as I do, that art’s central purpose is to prompt emotion – which is why it must never be merely decorative – then Emin is letting art do its work. Emotion is not sentimentality or artificiality, in fact it is the enemy of both. To feel something deeply is an intellectual and spiritual experience, as well as a visceral one. We were designed to feel, but our present culture is terrified of real feeling; its demands, its wildness, its commitment to truth.
    C.Freedman, R. Fuchs & J. Winterson, Tracey Emin: Works 1963-2006, New York, 2006, pp. 6-7


Sorry Flowers Die

Neon tubes and Plexiglas.
59 x 59 in. (150 x 150 cm).

£30,000 - 40,000 

Sold for £36,000

Contemporary Art Evening Sale

Evening Sale
13 October 2007, 4pm