Interestingly, Everyone I Have Ever Slept With was initially criticized because many people suggested that the list of sexual conquest was more a form of boasting than a work of art. The tent was presented with its door open, lit from within and containing a mattress. To create it, Emin appliqued the names of everyone she had ever shared a bed with onto a small tent. This piece first brought Tracey Emin to wider fame, both in the art world and among the general public. Although she rejects any notions of her work being for a feminist greater good, her courage to be vulnerable and honest through her artwork collapses the edge between life and art, and has brought attention to the discrepancies between men and women's ability to critically and publicly engage with topics such as alcoholism, gender roles, and, most controversially, sex.ġ995 Everyone I Have Ever Slept With 1963-95.The societal response is part of her artwork she encourages critique even if it comes in the form of gossip tabloids. Emin's artwork has a performative quality, and has a function other than mere self-expression in that her persona has been created for her by the public, and she has played the "bad girl" that the public has critically embraced. She rejected the stereotype of the polite modest Englishwoman, and publicly aired her dirty laundry through her artwork and public appearances.Her brash unwelcomed commentary and defiant telling of a woman's autobiography fed on the public's love of voyeurist-like television sealed Emin's prominence in the contemporary art world. Before reality television programming became as large of a phenomenon as it is today, Emin was elevated to celebrity status through the contested reception of her public appearances. The fame Emin received was more from press gossip than from critical debate for her artwork and her persona is her own brand of unapologetic artistic commodity that violated social norms (particularly British norms).Her artworks enact self-mapping and self-commemorating through the possible healing and spiritual aspect of art. She has used her own body as medium in self-portraits and performances. Her work is often referred to as confessional, for she uses her own personal history as the subject for her artwork.
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