Artist Tracey Emin has attacked a number of newspapers for making up "lies" about her.
Emin's work is highly autobiographical
Emin, whose work often very publicly depicts her emotions, is one of Britain's most high-profile young artists, although attention has often been focused as much on her party lifestyle as her exhibitions.
She said that she did not fear the loss of her private life through her work, but was very angry at the way she was treated in the press.
"There are things in the papers that aren't true, for example, and they really get my back up," Emin told BBC World Service's Masterpiece programme.
"That's an invasion of my privacy. If I muck up, I'm going to be one of the first people to say. I don't need a paper to write lies about me, to say that I've done something that I haven't done."
Emin added that some other artists had told her this was "part of the territory," but she disagreed.
"That's like saying 'she wore a mini-skirt so she deserved it'," she said.
She also said that her "story" was very easy for people to understand and for journalists to write about, whereas other, more complicated artists escaped such attention.
She added that these artists "don't look like very much, that's why their art is their vehicle".
While some critics have hailed Emin as an outstanding artist who speaks with unique intensity, she has also been disparaged as an untalented self-publicist.
Her artwork is extremely autobiographical and highly controversial. Much of it stems from deeply personal experiences, including being raped as a teenager. Her Turner-prize nominated Bed was the place in which she contemplated suicide.
Her tent, "Everyone I have ever slept with 1963-5", has 102 names sewn onto the sides including her lovers, her aborted foetuses and relatives she slept with as a child.
And she was recently involved in