Love is something you fall into.
BARBARA KRUGERLove is something you fall into.
BARBARA KRUGERIf I bring up political power, personal power, it sounds like they’re my terms, and they’re not.
BARBARA KRUGERIt’s hard for me to understand how working-class people support themselves.
BARBARA KRUGERMoney talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.
BARBARA KRUGERAlthough my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
BARBARA KRUGERSeeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.
BARBARA KRUGERYou want it, you buy it, you forget it.
BARBARA KRUGERIt entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
BARBARA KRUGERI think people have to set up little battles. They have to demonize people whom they disagree with or feel threatened by. But it’s the ideological framing of the debate that scares me.
BARBARA KRUGERMemory is your image of perfection.
BARBARA KRUGERMoney talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
BARBARA KRUGERI think architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.
BARBARA KRUGERArchitecture is my first love, if you want to talk about what moves me… the ordering of space, the visual pleasure, architecture’s power to construct our days and nights.
BARBARA KRUGERI’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.
BARBARA KRUGERIt’s really hard for me to use the term ‘history’ in the singular, because it suggests a reductivist view of how moments and events congeal and reflect the passage of time. I’d rather stick to the pluralness of ‘histories’ in order to suggest the simultaneity, the parallel forces at work, which produce lived experience.
BARBARA KRUGERI think I developed language skills to deal with threat. It’s the girl thing to do-you know, instead of pulling out a gun.
BARBARA KRUGER