Compounding the domestic and the political, Hate and Power Can be a Terrible Thing, 2004, an appliquéd blanket work, is a seething and blistering attack by artist Tracey Emin on the now deceased former British Prime Minister, Margaret Thatcher, and her participation in the Falklands War of 1982 where more than 900 people perished.
Situated within the Homeworkers room at Tate Modern, London, within the permanent collection known as Energy and Process, Hate and Power Can be a Terrible Thing occupies an all female, evocative, politically charged room.
The Homeworkers room, which is a relatively new room within Tate, is dedicated to the subversion of craft as a gendered domain and instead produces a powerful means of expressing political opposition. This work by Emin corrupts the appropriation of everyday objects associated with the female role, using it against a patriarchal society as a means of political damnation and aggressive accountability.
The Homeworkers room, which is a relatively new room within Tate, is dedicated to the subversion of craft as a gendered domain and instead produces a powerful means of expressing political opposition. This work by Emin corrupts the appropriation of everyday objects associated with the female role, using it against a patriarchal society as a means of political damnation and aggressive accountability.