Contributed by David Carrier / Now and again, I have second thoughts about my initial strong response in an art exhibition. That was the case, in a way that deserves discussion, with “Tracey Emin: A Second Life” at the Tate Modern. In Britain, Emin is an art star. Before I went to this full-scale retrospective, I knew about her two seminal works – My Bed, her famously motley and putatively sordid installation, as well as Everyone I Have Ever Slept With, the tent incorporating the names of those thus described. With a life as eventful and stressed as Van Gogh’s, she has become a feminist hero. The subtitle of this show, “A Second Life,” alludes to her survival of devastating cancer surgery. In the wake of her friend David Hockney’s death, some are calling her the greatest living English painter.
