My cultural view


Our beliefs. Values and other frames of reference by which we make sense of the world.

Situated culture

All those small scale communications and interactions we have on a day to day basis. This kind of culture is primarily an oral one, it is passed on by word of mouth.

Task – selected an image/artefact/object of your choosing for analysis.

Tracey emin’s bed


My Initial reaction-(disgust, revulsion. )

Formal elements of the object-(A bed, scruffy, un-kept, slovenly, untidy.)

Name title / artist – (My bed by Tracey Emin)

Genre -( Expressionist)

Subject matter- (Tracey Emin and her life)

Is the work functional, purely aesthetic or both?-( None)

Dose the work relate to an art movement or group?-(not as far as I can tell)

Is the artist maker affected by a dominant ideology of the time?- war?, or social/historical significance? if so how does the work reflect this?

Yes the artist was affected by her own past, which looks like it was quite a messy place. Her work reflects it too a T.

Does the work challenge the dominant ideology i.e is the work unconventional, alternative ore oppositional?

I would put it down as unconventional.

How has the work been received by the public?

Some with disgust on how she has displayed her most degrading and demeaning emotional times in public(airing her dirty laundry in public) some with fascination.

My thoughts and feelings.

Research has not changed the way I feel about it, the more I research into it the more I dislike it. again I think that is where my cultural views come into it. In my culture you do not put your life on public display, especially if it is that messy. What happens in your life stays hidden from the public is demeaning and shows you do not have any self respect or shame, if you are willing to expose your personal life and make a spectacle of it.



Tracey Emin’s My Bed, short-listed in autumn 1999 for the Turner Prize (plate 1), presents a base supporting a mattress, on top of which are rumpled sheets, pillows, panty-hose and a towel; cluttered alongside is an assortment of items from vodka bottles to slippers and underwear, cigarette packs to condoms and contraceptives, Polaroid (self)portraits to a white fluffy toy. For her London critics, My Bed exemplified and expressed Emin’s sluttish personality, the detritus of a life quintessentially her own; it was, above all, confessional. Such links were encouraged by the mise-en-scene with its misspelled jottings, declamatory textile and neon, memorabilia, and ‘home videos’ in which the camera wandered, accompanied by voice-overs by the artist, through scenarios of clutter similar to that of My Bed and filmed in her apartment near Waterloo station in London, all of which facilitated elisions between life and art and confusions between the two.

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Is it art?

Tracy Emin’s My Bed

Emin’s confessional unmade bed was short-listed in autumn 1999 for the Turner Prize. Charles Saatchi bought the piece for £150,000 and allegedly put it in a room in his own home. The Guardian called it the “birth of a phenomenon” and ran with the headline “How this bed turned from work of art to modern icon in less than two weeks”.

But this paper’s critic, Richard Dorment calls Emin a “phoney”. In 1999 he wrote: “Emin shows memorabilia amassed during the course of a life marked by promiscuity, rape, abortion, alcohol abuse and financial destitution, but also by phenomenal critical and financial success, achieved by marketing graphic descriptions of her most intimate feelings and degrading experiences as works of art. Billing herself as a modern day Expressionist, Emin brings life — in the forms of videos and things taken from the real world — into the art gallery and leaves it there, more or less unchanged, like unprocessed sewage. . . .What interests me about Emin is not her relentless self-absorption, limitless self-pit or compulsion to confess the sad details of her past life, but that all of this adds up to so little of real interest”.

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