![\"\"](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/03\/travey-emin-tate-modern-01.jpg\")
<\/a><\/p>\nThis is the Tracey Emin blockbuster. An exhibition that will sell out regardless of what anyone says about it, because it\u2019s a celebrity artist doing what she does best \u2013 painting and talking about herself. It\u2019s not that she doesn\u2019t have a remarkable and troubling story to tell, but if your entire art is about a genuinely hard life, then it\u2019s not pleasant art to hang on the wall.<\/p>\n
The exhibition, packed with people, is also a hard space to navigate, especially with several tight pinchpoints, as if the artist wants the viewer to feel uncomfortable while visiting.<\/p>\n
Opening with replicas of artworks she created in art school, and later destroyed, the exhibition is mainly a collection of very large sketches, a few paintings and tapestries \u2013 and if you can get to them through the throng, intimate letters.<\/p>\n
A rather odd railway fills one room, and yes, that infamous bed is here.<\/p>\n
Maybe I missed something, but I walked in wanting to be excited to see the work of one of the UK\u2019s most famous living artists and walked out going, well, yeah?<\/p>\n
The imagery is brutal, both in topic and style, but candidly, there\u2019s not much here. There are lots of individual pieces, but it breaks down into barely half a dozen core topics. When you\u2019ve seen the naked self-portrait sketch, the rest of the room filled with more of the same seems superfluous.<\/p>\n
I think that\u2019s why I left with a bit of a shug, as somehow I had walked through several rooms, but felt that I had really only seen a handful of works of art.<\/p>\n The exhibition, Tracey Emin<\/a>, is at Tate Modern<\/a> until the end of August<\/p>\n Standard Ticket: \u00a320<\/a><\/p>\n
\nChild 12-18: \u00a35
\nUnder 12s \u2013 Valid With Adult Ticket Holders Only: Free
\nConcessions: \u00a319
\nNational Art Pass: \u00a310
\nUniversal or Pension Credit: \u00a35<\/p>\n