Tracey Emin (b. 1963), Homage to Edvard Munch and All My Dead Children, original note: signed and dated ‘Tracey Emin 29/3/05’ (lower right), video: signed, titled, inscribed and dated ‘Homage to Edvard Munch and All My Dead Children (LOOP) 5/09/98 DUR 29’00" Beta SP/NTSC Tracey Emin’ (on the cover); signed ‘Tracey Emin’ (on a printed label affixed to the tape)
(i) inkjet print with filmstill and handwritten description of the project
(ii) Beta video tape with original drawing on the cover
(i) 8 1/8 x 11¾in. (20.6 x 29.8cm.) 

Jenny Holzer, Truisms (Marquees), 1993, installation, NYC

Muriel Zeller, “Self, Time and External Circumstances”

Gwendolyn Brooks, “The Mother”

Mona HatoumMarrow , 1996, rubber, 128.3 x 58.4 x 50.8 cm. (50.5 x 23 x 20 in

Doris Salcedo, Untitled, 1987, Steel cot, steel shelving, rubber, 10 plastic dolls and pig intestine, 1870 x 2410 x 460 mm, 65, Tate

Tracey Emin, Terribly Wrong 1997, monoprint on paper, 58.2 x 81.1. Tate

Frida Kahlo, My Birth, Mi Nacimiento, 1932

Anne Sexton, “The Abortion”

Sylvia Plath, April 18th 

Tracey EminFeeling Pregnant (in 6 parts) , 2000, clothes, wood and text

Please post more of your own art. When you’re famous I’ll be able to think to myself “I wrote her when she was just starting”.

Oh man. What a lovely comment. I don’t generally post the text of my writing, because I am shopping my work to publishers right now and any prior publishing is frowned upon, but here is a link to an audio recording of the first section of my collection, The Orchard, with some weird sound effects. 

Again; thanks so much. I have scant ambitions toward fame, but I do have aspirations to achieving some sort of emotional and intellectual cogency, so this note made my night.