Neo Rauch (b. 1960)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Tracey Emin (B. 1963)

Every Part of Me's Bleeding

Tracey Emin (B. 1963)
Every Part of Me's Bleeding
blue neon
26 3/8 x 73¾in. (67 x 187.5cm.)
Executed in 1999, this work is number one from an edition of three
Lehmann Maupin, New York.
Private Collection.
Anon. sale, Sotheby’s New York 11 Mat 2005, lot.309.
Acquired at the above sale by the present owner.
J. Avgikos,’Tracey Emin’, in Artforum International, October 1999. (illustrated in colour, p. 139).
M. Merck and C. Townsend (eds.), The Art of Tracey Emin, London 2002, no. 37 (illustrated, p. 139).
H. Luard and P. Miles (eds.), Tracey Emin: Works 1963-2006, New York 2006, p. 412 (another from the edition illustrated in colour, p. 279).

New York, Lehmann Maupin, Tracey Emin: Every Part of Me’s Bleeding, 1999.
London, Tate Britain, 1999 Turner Prize, 1999-2000 (another from the edition exhibited; illustrated in colour, unpaged).
Miami, Museum of Contemporary Art, Tracey Emin: Angel without You, 2013-2014, pp. 212 (another from the edition exhibited; Illustrated in colour, p. 19).
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Annemijn van Grimbergen
Annemijn van Grimbergen

Lot Essay

Executed in 1999, Every Part of Me’s Bleeding lent its name to Emin’s first solo show in the United States at Lehmann Maupin gallery in New York. Later that year, the work featured prominently in Emin’s Turner Prize exhibition at Tate Britain, London, where it was exhibited alongside her provocative installation, My Bed, aligning its confessional missive with the impassioned heartbreak embodied by her most celebrated work. More recently, the work was included in Emin’s 2013 exhibition at the Museum of Contemporary Art, Miami, Angel Without You, the artist’s first solo museum show in America, dedicated exclusively to her works in neon. She later enthused, ‘It was such a great feeling to have so much neon in one place. The neon and argon gases make us feel positive, that’s why you have neon at funfairs, casinos, red-light districts and bars. It’s also to do with the way it electronically pulsates around the glass, it’s a feelgood factor’ (T. Emin, quoted in S. Hastings, ‘Tracey Emin and Gavin Turk on the power of neon’, in The Spectator, 29 November 2014).

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