Tracey Emin’s victimhood is a poor foundation for art
From our UK edition
It was a given that the critics would indulge in emotional onanism when they covered the Tracey Emin retrospective at the Tate Modern – apt enough when you consider the sexual content of so much of it. But what surprised me was that it wasn’t just women. For the art is almost entirely about Being Tracey: her abortions, her