In this essay, I will be analysing and exploring the boundaries between artistic mediums and craft using Tracey Emin as my cultural text. I will focus on books such as 'Tracey Emin: My Life in a Column', 'Strangeland' by Tracey Emin and 'Tracey Emin' by Neal Brown; by concentrating on books that have been both written by Emin and by other authors, I believe this will help me to gain a better understanding of the different opinions people may hold about art and craft both separately and collectively and whether craft is considered as a real art format.
Primarily focusing my thoughts on the series of blankets Emin has carefully 'crafted', I will discuss the positives and negatives of craft being used in the art world in a constructive way. Emin was part of the Young British Artist movement, where they 'couldn't care less' about what the art critics had to say; they changed people's view of what is deemed as art and since then, many believe that art has become fluid. Considering Emin's background, her use of craft within her work suggests that she was very unconcerned about what she was producing and publishing to the world and this reflects upon the movement she was involved in.
The selection of this topic derives from my approach to art; I have always had an interest in colour, texture and material, but the way my works are normally perceived is not entirely understood as art and is linked more so to craft. This essay will aid me in justifying myself and other artists who feel as though their work is derogatory to other members of the creative industry.
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