Reach Out by Tracey Emin Signed

TRACEY EMIN ‘REACH OUT FOR FRUIT ‘ 2012 Signed Print
A digital print signed and dated in pencil by Tracey Emin
Emin International.Com red stamp verso.
It has never been framed and was purchased from the Emin International Shop in 2012
This print was originally designed by Tracey Emin for THE SHOP she set up with Sarah Lucas in London's Brick Lane in 1993. 
Editions of this print were some of the first items available from the EMIN INTERNATIONAL SHOP when it opened in 2012.
This signed print is now rare.

Tracey Emin was born in 1963 to Turkish Cypriot parents to Margate in Kent. Her young life was a mixture of promiscuous sex and self-destructive indulgences as she oscillated between different men and art schools. Rape, abortion, family tragedy and a host of unpleasant diseases
figure in her early life and most of these tragic events were well-documented in the ‘20 Years’ Retrospective.
She was the ‘enfant terrible’ of the group that came to be known as the YBAs in the 1980s (Young British Artists) which included such artists as Sarah Lucas, Damien Hirst, Gary Hume and Sam Taylor-Wood, among others, who were thrusting onto the international art scene shocking images and sex-centred artistic creations and highly conceptual art.
Emin herself burst onto the world art scene in 1997, when her work ‘Everyone I Have Ever Slept With 1963-1995’, a tent appliqued with the names of everyone the artist had ever shared a bed with was shown at Charles Saatchi’s ‘Sensation’ exhibition held at the Royal Academy in London.
Her art is one of disclosure, using her life-events as inspiration for works ranging from painting, drawing, video and installation, to photography, needlework and sculpture. Emin’s creations are best described as autobiographical and confessional artwork. 

Emin’s work has an urgency, a here-and-now quality, often with in-your-face sexual imagery with which she attempts to position her oeuvre within the tradition of feminist discourse. The hopes and frustrations, failures and successes expressed in her work are candid and, at times, both tragic and humorous. She admits to being influenced by the work Edvard Munch and Egon Schiele.
Emin’s transition from a messed-up, angry, rebellious working-class teenager in the 1970s in Margate on a path signposted in the direction of self-destruction, with an interlude in the 1980s as a prominent figure of the YBAs. Vilified and feted but central to the media’s love/hate relationship with culture to her emergence in 2007 as a Royal Academician of the Royal Academy of Arts is a truly remarkable story in itself.
She comes across as a great British character and a visual storyteller of complex issues of her times focusing on events
and experiences of her own life. Emin is now very much a grande dame of the British Art establishment. In 2008 she was UK’s representative at the Venice Biennale. In December 2011, Emin was appointed Professor of Drawing at the Royal Academy.  Emin is also a panellist and speaker. She has lectured at various august institutions, both in the UK and abroad about the links between creativity and autobiography, and the role
of subjectivity and personal histories in constructing art.
Leaving aside the question whether she is a great artist or her creations are simply self-indulgent confessions, her work makes her stand out as the leading artistic standard-bearer for the feminist discourse in the early decades of the 21st century.
Emin is a consummate publicist and outspoken in her views, especially in furtherance of feminist causes.