YouSaid · the spoken record

Tracey Emin

lines on the record: 31
first: 2024-01-12
most recent: 2024-01-12
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Feel like this. It's okay to feel like this. And that is the purpose for me, what art does and what it did for Mulk and why I relate to him. And I'm not ashamed of it. Whereas I think there's certain aspects of art history or periods of history where you... Supposed to be kind of cooler than cool, but I'm not cool. Mork wasn't cool, or we are in. Yeah, he was, yeah. No, but I mean, he didn't go, he didn't try to hide anything. He didn't try to.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“I was on the music at 10 or whatever, and it was a section of women, and we were discussing something to do with women. And at the end of it, they were talking about the fact that we have to pay tax on sanitary products and everything. And my last words were, well, we all bleed. And the next day across all the newspapers, it says, Tracy and says, we all bleed. We all bleed. But Mork bleed openly. I bleed openly. And someone has to do it. It's like a vortex, like a voice, like an expression, because otherwise, if we don't, society just all gets fucked up and bunged up. And then we have the worst things happening ever. If everyone, all of us could just relieve our emotion and bleed a little bit more, the world would be a much kinder, safer, gentler place because we'd be able to express. And like this, you know.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“This is how it feels. And I was completely derided and put down for that. And when work was not shown, oh, I wonder why, you know, whereas now I think that there's a really big rise in people wanting to grasp emotions within art, wanting art to touch them, wanting to feel something. We're heading so fast into the age of determinism in the worst possible way that we possibly can, that emotions and feelings are so important that we have to keep them and we have to look after them and we have to express them and not be afraid about it. Now is the time for MOOC. Mork is rearing up and he is coming and coming and coming. Now is his moment because people can relate to it and people go yeah he was jealous or he loved or he hated or he feared it's okay to have those emotions.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Of that, everybody understands what it is to be jealous. Everybody understands what fear is. Everybody understands what it is to love. And I totally related to that, and I have carried that through with my work, regardless of fashion, regardless of anything. Like back in the 90s, when everybody was polishing perspex, I wasn't painting like I am now because I worried there wasn't room for that, but there was definitely room for me to express myself emotionally. And I was accused of screaming at the time or being narcissistic. And then if you think now, I was a woman saying this is how it feels to be a woman. And I was vocal and I was clear about it, whether I was talking about rape, her paying, abortion, whatever the, you think abortion. You know, I was making work about abortion 30 years ago saying people don't understand what it is for a woman to have an abortion.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“It was so brilliant with milk. I've always had this weird thing of being lonely or feeling, believe it or not, somehow on the outside. And when I went to Maidstone College of Art, I got in by a fluke. I didn't have any A-levels or O-levels or foundation or nothing. I got in purely on my work. And when I got there, it was a shock for me because everybody was so different. And my love of Monk helped me in my first year so much because it was like I had a friend every single book on Monk that I had and every image I looked at spoke to me and he was like humanizing everything to do with art so when I was at Maidstone I left school at 13 by the way so when I was at Maidstone everything seemed like over intellectualized for me and it was hard for me to grasp when I had no knowledge about history or anything so Monk cut through all”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, and even when he did all his portraits of all the wealthy people and all the industrialists, it wasn't just all these big men with cigars, with trilbism. He painted all these strong women, women of culture, women who had a lot of gravitas. And he treated women the same way as he treated men.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“differently. As a real woman, she's really sexy. She looks really good, but it's not belittling in her in any way. It's actually showing her strengths and her beauty. So that's what I was saying about how Mock was not, he was not sexist, he was not misogynistic. He didn't treat women badly. He treated, there was no little women in his work anywhere. They were big women, strong women, even the girls were strong. Even the girls were on a journey. Even the girls knew something that other people didn't, you know, like three girls in a bridge or whatever. There's always this strength behind it.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“If you did that now, it would be quite shocking. Do you know what I mean? They were really permitiously open and driven and didn't care. Tula Lossen didn't care about losing her virginity and someone else might not want her or whatever. She come from a really rich posh family, but she didn't care what anyone thought of her. He didn't care. There was this kind of decadence and openness was kind of really freeing for that time. It was kind of shocking.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“No, I didn't. No, nothing. Well, I think I probably did at the time. We're talking about 30 years ago. And then this was the other thing in Oslo, when I kept saying to people, yeah, but Monk had children. Everyone goes, no, Monk never had children. Never had children. Never had children. So I think there is some things about Monk that we still don't know. And it's kind of all of these things that cross over are kind of interested. And also, I wanted to say this, the idea of going to Hamburg and being chased across Europe and then having sex for 48 hours. In Hamburg, but in 1902.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“And when years ago, like 25 years, 30 years ago, I used to have this little old launderette on Waterloo Road, and it used to be the Traceum in Museum, the perfect place to grow. And I used to just work there. And it was like my studio bike. People could come and talk to me, whatever. And one day I had a knock on the door. And there was this really nice man. And he said, he wanted to know why I thought monk was homosexual. So I said, no, I gave him all these reasons. And he said, well, there is some truth there, but it isn't that he was homosexual, but the woman he was in love with was a lesbian. And she was my grandmother. And then he said that he was twins. They were twins, him and his sister, and told me this whole story with lots of facts, lots of information, everything. And then he went away and I never saw him again.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Because vampires were really trendy. It was like the idea of Dracula, the vampire, everything, it was like really fashionable. So a monk loved new trendy fashionable things.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“What I see that's going on is not what was supposed to be going on. I see this as somebody cradling and protecting. I don't see someone into someone's neck and sucking a load of blood out. I see something completely different.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“And Monk, he's a gentle soul within terms of art. He wasn't an aggressive macho bully at all. And also, it's like with Picasso, I'm going to really in trouble for saying this. I love Picasso. I love his work, but I had this argument with these people. I said, it's not hard to get ahead if you treat half the world like shit, i.e. women. And I know Picasso loved women. He loved the women he was with, and he had great love affairs and everything. on the whole Picasso moved women like this throughout his life. Mork didn't do that. Mork treated women with a lot of respect and a lot of equality in lots of ways.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Latest of everything first person to have a forward motor car first person to have this, first person to have that. He loved technology. So this idea about being this sort of woolly wild person running across fields or whatever is not been fur and stuff is not true. He had the best tailor-made suits, he had really beautiful shoes, he had the best of everything, and he was incredibly into every kind of technology, the latest camera and paint, the latest colors of tubes of paint. And if you look at the colors in this, it's now even, it's so vibrant and so alive. You know, he used lots of daggala colours, he used lime green, he used shocking pinks, everything. Nobody was using those colors then. Nobody at all. So he was really advanced and always thinking like pushing himself.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“I don't want to deviate. But Monk was really looking at everything that was happening in France with a sort of little bit of kind of envy and paying attention to what was going on everywhere in Europe. And also, Mork was one of the first people in Norway to have a telephone.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“This is the jealousy. Serious in it, it's like the green, the jealousy, you know. She looks old and unhappy and he looks angry and it's also about jealousy.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, but also the amount of drugs that he took and drink that he did and everything, he was off his face for the first half of his life completely almost every day. It was like a known thing. And then he decided to go and clean up completely and change his life. And his work changed as well, but you have to be a bit of a monk aficionado to know that because he was always constantly going back to old subjects, reworking, rethinking, reanalyzing, which is kind of interesting in itself. But this is really interesting because the Tula character looks very beautiful and she's just looking on wistfully, waiting.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“I'm going to say something here. See, you've got the two tulas. One is white, one is black, one is good, one is evil, one is this, one is that. You know, she could have been quite easily, she could have been bipolar or something”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“So, I don't know how many people know this, but they had this fight and somehow Monk's finger got shot at the end of the fight and nobody really, they were very drunk. People heard them shouting and screaming and the gunshot and everything. But nobody ever really knows what happens, whether he was trying to stop her from shooting him, whether he was pulling the trigger, whether he shot himself, but it was enough to end the relationship, definitely.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“No, I genuinely think whatever, I think he definitely had an attraction to men because of the later paintings and the paintings of men later on. And I don't mean the boy is the adonisters and all of that kind of thing. I mean his friends and the people, his neighbor he had fights with and this and that, it seems like there was an emotional thing going on as well. Not too far fetched for what I'm”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, but when you really look at her, look at her chest and inside and everything, the inside of her doesn't look that attractive. It looks like skeletal. It looks like death, actually, the inside. So he was still looking inside the woman, not just the outside, the sexual lure, the luster. that kind of thing he wanted to know more and that's what he was interested in but i still think And I'm not making jokes about it because I love Morocco. I find he was so attractive as well. I always have. Our cannon in Mixworth. interested in me, so might be angry with me, you never know.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, because it's like. You know, And why did he feel so guilty? Why was it so bad? Or let's just say it's all true and he was a virgin and he was 22. Let's say he wanted to marry himself to his art. And he didn't want to have an emotional relationship or physical relationship with anything or anybody. He wanted to have his soul completely free and married to his art. Let's say that for Simon's sake.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Because she wasn't a man. Stop because he'd been fucking with men, all his youth and adolescence, everything. And then suddenly he thought, oh God, I've got to start doing it with women and get married. This is what, you know, I better start, oh, she'll show me the way this older woman in the forest, you know. But what she did to him, this femater.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Adulterous older woman, okay? But he was twenty two. He wasn't 12 or 15. She didn't lure him into the woods and rape him and tuck him up in the gingerbread house or anything. He was a man. He was 22 and he was losing his virginity. The other thing is, apparently he felt really guilty. Why do you think he felt really guilty, Simon”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“When you get down to the nitty gritty in the sex of it, he was useless. And then when he's drawing men, oh my god, you know, they're like these adornises. They're standing like this, all proud. You've got all the boy wrestlers. You've got all of this real homo erotic stuff going on in his work again and again and again. And then you have the vampire, the this, the that, the femme fatel, everyone, you know, she tried to kill me, whatever it is. And he sort of really romanticizes women into these, you know, the witch, the mother, the lover category. He can't seem to have an ordinary relationship with women because he wasn't actually into women that. Go”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“He scrubbed his hands after painting. He always had really well-groomed nails. I'm not saying that makes you gay, right? But what I am saying is he really, really cared about his appearance. He really cared about all his portraits of himself when he's younger. He's kind of like, you know, he's, and also when you look at his... Is really brilliant at painting women.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Open now, this is where me and the whole room and Simon are going to disagree. I think Monk had a hang up with women because he was homosexual.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Some of But hey, not all of them Yeah, I'll get that one. No. No, what I'm saying is he didn't just presume that the person sitting in front of him that he was painting naked, he was going to have sex with. He didn't. And he wasn't like that. And everybody who worked for him, he treated with real respect and everything. He wasn't just like some sort of posh upper class trap painting pictures of patterns. He really was into people and having empathy and understanding people. And a lot of his emotions were actually quite feminine and he was very open about them. And there was a kind of fashion at the time to be open about your emotions, your dreams, you know, whether it was Freud, Junk or any of those kind of that new age of psychology or whatever. But Monk was way ahead of all of that. He was doing it on his own. He was genuinely interested in his own feelings and being open and being emotional.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, the other week someone very stupidly put on Instagram that Omn was such an amazing painter, it's just so unfortunate that he was so sexist. Misfortunistic, and I come flying here just defence. I said, no, no, no, Monk absolutely adored respected loved women, and there's all these classics, he put women so high on a pedestal, like almost untouchable, and there's really nice things about all his models and the people who he painted. He never fucked them. So most models then.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“We're sharing some of the conversations we've been holding with our experts, along with Tastemakers, collectors and luminaries from the world of art and culture. Edward Monk pioneered expressionism and embraced life's most painful experiences to create art. His pursuit of emotional truth changed art forever. Tracy Emman, who has been a major figure in contemporary art for more than 25 years, has always been fascinated by the Norwegian master. In this episode, originally recorded at Sadebiz in London, Emmen sat down with Sadevi Simon Shaw to talk about the role of women in monk's work and to explore why his paintings still have such a compelling hold on us today.”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT
“Almost three centuries, Sotheby's has been the place to discover the greatest stories of creativity. We've been the temporary custodians of some of the world's finest treasures, which you can see on display in our galleries on any given day. Welcome to Sotheby's Talks, the podcast that celebrates art, culture, and collecting. I'm Marina Ruiz Colomer, and I want to invite you and cite the world of Sathhees, a place where you can find the extraordinary, including contemporary art, old master paintings, rare books, jewelry, and memorabilia. I am a specialist in Sotheby's contemporary department, and throughout my career, I have championed the work of female artists. In 2021, I co-organized the first cross-category sale of work by women at Sotheby's. In the last few years, we have seen the demand for work by female artists increase dramatically, but there is still work to be done. So on this podcast,”
2024-01-12 · Intelligence Squared · Sotheby’s Talks: Munch, with Tracey Emin · IDENTIFIED FROM THE TRANSCRIPT