Review Round Up: Tracey Emin: A Fortnight of Tears, White Cube Bermondsey

Love London Love Culture rounds up the reviews for Tracey  Emin’s latest exhibition…

Time Out: ***** “Throughout this show, Emin brilliantly takes the misery we all experience from time to time and condenses it into little atomic bombs of aesthetic urgency. It’s overwrought, over-intense, and over the top, but that’s why it’s so good.”

The Guardian: **** ” Her work remains a riposte to the weird constipated stoicism of British respectability. At this stage in her career, painting at a scale that tests the bounds of her reach, the brutal honesty no longer feels confessional: it’s more about asserting distinctly female tragedy as a subject for great art.”

Culture Whisper: ***** “When seen en masse Emin’s work can feel somewhat repetitive, but look at each work in isolation and it is piercing. This exhibition is an exquisite portrait of loss, resignation, acceptance and survival. Like her work or loathe it, its impact is difficult to ignore.”

The Telegraph: *** “If these are the most convincing paintings Emin has produced to date, and they work well as a sequence, you wonder if any of them has quite the substance to stand on its own, without the knowledge that it is “by Tracey Emin”. As always, Emin is both her own greatest creation and the thing that is most stopping her from going as far as she might as an artist.”

The Upcoming: **** “This impressive exhibition testifies to the fact that Emin’s art is still intrinsically bound up with her life. One thing remains undeniable, wherever one sits on Tracey Emin’s work, it’s impact cannot be ignored.”

The Times: “In the show, Tracey does what she always does: makes sure we share her life pains. She’s single, female, childless, motherless, 55 years old and unable to sleep. She claims to have accepted all this, but the evidence of her art suggests otherwise.”

The London Magazine: “A Fortnight of Tears signals a return to the raw expression that one can observe in the earlier work of the artist, compounded with a new-found element of self-reflection that is only discovered through age.”

Evening Standard: *** “Vast enough to be a career survey, yet mostly made in the past three years, this show might be called an emotional retrospective: Tracey Emin’s in a reflective, anxious mood.”

The Strand Magazine: “I’ve never quite felt the way I did when leaving the White Cube after Tracey Emin’s newest collection of work, A Fortnight of Tears. Stunned, somewhat, by the raw mix of life, death, love, sex, femininity and pain that I had just confronted. “

Tracey Emin: A Fortnight of Tears is on display at the  White Cube Bermondsey until the 7th April.

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