Bedtime

In a review of the responses to British artist Tracey Emin's exhibition of her own bed as an artwork nominated for the 1999 Turner Prize, Merck considers it as a figure of the personal trauma said to be constitutive of subjectivity in the decade. Reviewing theorists of the period including Hal Foster, Marc Augé and Wendy Brown, she considers the artist's work as an illustration of individual isolation assuaged by narcissism. Must the woman artist function as the victim of her own cult of celebrity? In the ensuing months since her nomination, Emin's changing circumstances suggest that other fates- and other histories- may be possible.