#35
Here in The Bus Lane we enjoy a good headline. Best of all is a fresh headline reminding us of a previous classic. Imagine our anticipation when Cameron used the dreaded veto – DAVE BLOCKS MERKOZY DEAL. Then came news that Tracey Emin had been appointed Professor of Drawing at the Royal Academy – NOW IT’S PROF BONKERS. We would have struggled to overcome our natural indifference to both these events if it wasn’t for the prospect they offered of pithily sardonic headlines to come. Otherwise, what the hell has either got to do with us?
Users of The Bus Lane are unlikely to be consulted by anyone at any time about developments in the EU, the whys and wherefores of protecting The City as a centre for financial chicanery and who’s in or out as Top Gun at the RA. If we couldn’t name the previous incumbent, why would it matter to us if said unknown Prof was succeeded by Tracey Emin? That said, we welcomed Tracey’s elevation with the pant-wetting hilarity we thought it was intended to provoke. But no – apparently they weren’t joking. It’s “Prof Tracey” for real! Our fault – we obviously hadn’t “updated” our understanding of the meaning of the words “Professor” and “Drawing”. Even before we could reach down our copy of ‘The Emperor’s New Clothes’[1], the reliably predictable Nicholas Serota confirmed “I think it’s a great appointment.” Phew, so that’s alright then.
And those classic headlines from days gone by? Well, Cameron’s petulant “Non!” reminded most commentators of the mythical “FOG IN CHANNEL – CONTINENT ISOLATED” banner. Many believe this once appeared in The Times [or some similar organ] on various dates in the 1920s, 30s, 40s and 50s. Sadly, our huge backroom staff of geriatric interns and newly-redundant elves have been unable to verify that it ever appeared in print. Wonderfully revealing though the sentiments behind it may be; the headline itself remains entirely apocryphal.
Not so for Tracey: “FAN HITS THE SHEETS” really did appear in The Sun (yuk – spit) back in 1999 when ‘Brit Art’ was at its height. Two uncouth youths had bounced up and down on “My Bed”. You’ll know the piece: an unmade bed littered with the intimate detritus of Tracey’s private life. Fortunately, “My Bed” remained as much a work of art after being used as a trampoline as it had ever been before.
Cameron’s use of the EU veto was obviously completely daft – no argument there - but he is to be congratulated for the thoroughly seasonal make-over he has given to the turkeys of the Lib-Dem party. Having spent the last year slowly plucking all the feathers from their futile, flightless, wings he now has them trussed, bound, basted and properly stuffed in time for Christmas.
Do doubts linger elsewhere beyond The Bus Lane about Emin’s Professorship? Were other candidates considered, we wonder, but passed over? Clearly, the Academy regards Tracey Emin as the finest exponent of the art of drawing currently available to teach their postgraduate students. The painter Anthony Green (RA) has asserted: “She draws at the speed of thought…” And looking at some of her drawings you can almost believe that – even if, sadly, the seminal ‘thought’ seems not to have stayed around for long enough to be much considered. When we draw ‘at the speed of thought’ in The Bus Lane we call it a doodle.
Having seen her recent retrospective at the Hayward gallery, one critic enquired disingenuously, “When will Tracey ever overcome her chronic shyness?” The confessional nature of her art is so limiting. Down here in The Bus Lane, we have long been bored by the narrow range of her work. Everything she does is about herself and, frankly, she is not all that interesting. Her art is, however, strangely attuned to the voyeuristic excesses of the contemporary obsession with “celebrities”[2]. What was once private is now not simply made public. Worse, it is driven through a picaresque life cycle. A brief infancy of frantic encouragement builds to synthetic adulation. The most trivial details of the subject’s life of bling and glitz are grotesquely publicised. And then descends the claw-hammer of tabloid retribution. Every aspect of the celeb’s scabrous life, appearance and personality is liable to be suddenly and cruelly mocked, trashed and shredded in the interests of gormless entertainment and tabloid sales figures.
Tracey is only one of several artists whose work dwells alongside the public laundry run by the gossip columns and ‘reality’ TV. Her art exemplifies one of the meanings of solipsism. In what may be an extreme form of scepticism, she seems to deny the possibility of any knowledge other than her own existence. Her life-story remains the subject on which she is undoubtedly the world’s greatest living expert. As a Professor of Emin she has no equal, but what else – apart from confessional subject-matter and quick-as-a-flash, scratchy, line drawings – will now inform her teaching?