Live: In An Era Of Oversharing, Why Is Women’s Art Still Shocking?
The Polyester Podcast
The Polyester Podcast
4.5 • 533 Ratings
🗓️ 17 May 2026
⏱️ 46 minutes
🧾️ Download transcript
Summary
Celebs are no longer monoliths, Instagram is my diary and you no longer need to buy a memoir to know the intricate details of a public figure’s life. Across PR campaigns, podcast appearances and TikTok lives, influencers, musicians and actors alike push to seem authentic and relatable. With those in the public eye sharing more and more, why does the incredibly personal art still manage to shock us?
In this week's episode, join hosts Ione and Gina for an extra special live episode at Tate Modern as they discuss their incredible exhibition Tracey Emin: A Second Life and explore the ways classism, ableism and sexism intersect within the work of one of Britain's most notorious artists.
This episode is in partnership with Tate Collective, Tate's young people scheme for 16-25 year olds. It's completely free to sign up and gives you access to £5 tickets to see shows like Tracey Emin: A Second Life. The Tracey Emin show is open until 31st August and you can get in late to see it Friday and Saturday at 9pm, and 8pm on Sundays!
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Order The Polyester Book Of Bad Taste here!
Order Ione's book, Poor Little Sick Girls, here!
Order Gina's book, Greedy Guts, here!
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Transcript
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| 0:00.0 | Hello Ione. Hi Gina. Hi everyone. Welcome to the Polyester podcast, The Live Experience. |
| 0:08.0 | Thank you. Did you all like the exhibition? |
| 0:12.9 | Have you all seen the exhibition? |
| 0:16.8 | Imagine this, a room, Tracy Emond's art is in it. And it's amazing. |
| 0:20.7 | It's amazing.'s amazing multiple rooms |
| 0:22.0 | yeah many many rooms so we've seen it a few times now because we have been doing some like |
| 0:26.5 | after I was filming yeah which I think it was fun because I came to the launch and it was so busy |
| 0:30.8 | and I was like it's cool but because it's such an intimate show seeing it like on our own |
| 0:35.7 | just being able to walk through at night, |
| 0:57.5 | which is obviously a massive privilege, was even better. Yeah. Sorry that you won't get to do it. Yeah, I was going to say, yeah. But yeah, do you want to start? What are we going to, well, today we are going to be talking about oversharing and why Tracy Emmons art is still shocking to people. But I think when we were, well, you raised this to me first of all as a topic. |
| 0:57.5 | It is. and why Tracy Emmons art is still shocking to people. But I think when we were, well, you raised this to me first of all as a topic. |
| 0:58.1 | I did. |
| 0:58.9 | What did you say? |
| 1:04.8 | I said that I think it's interesting the way that female artists work is seen as personal and confessional and male artists don't really tend to get that label. Yeah, so male artists are more easily |
| 1:14.0 | prescribed, like just genius. And in like the artistic canon, and I think that's something that |
| 1:18.6 | Tracy has struggled with since the 90s, where people are like, oh, your art, for example, |
| 1:22.8 | like the bed, that could have been done by anyone. Yeah. But the point is like she did it. No one else did. |
| 1:28.1 | Yeah. |
| 1:29.1 | Well, I think it's interesting when it comes to Tracy Emmons' work in particular as well. |
| 1:34.5 | And I think I even noticed this while we were standing out the front of the cinema, |
| 1:38.4 | watching the people leave from her talk. |
| 1:40.4 | Like their audience still skewed so young, like women in their 20s and 30s. |
... |
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