I just say I’m an artist who works with pictures and words.
BARBARA KRUGERI’m living my life, not buying a lifestyle.
More Barbara Kruger Quotes
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Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.
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Listen: our culture is saturated with irony whether we know it or not.
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I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
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I’ve always thought that it’s good to watch the news to find out what everybody else is looking at and believing, if only because that’s how consensus is constructed.
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I worked with someone else’s photos; I cropped them in whatever way I wanted and put words on top of them. I knew how to do it with my eyes closed. Why couldn’t that be my art?
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If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture – not only national culture but global culture.
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If I bring up political power, personal power, it sounds like they’re my terms, and they’re not.
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I have no complaints, except for the world.
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Teaching at university isn’t like teaching in an art school.
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Although 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.
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I like suggesting that ‘we are slaves to the objects around us,’ that ‘plenty should be enough,’ or that the ‘buyer should beware,’ within the context of conventional selling space.
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I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author’s rendition of events and circumstances.
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Seeing 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.
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But I really resist categories – that naming is a closing down of meaning. Women’s art, political art – those categorisations perpetuate a certain kind of marginality which I’m resistant to. But I absolutely define myself as a feminist.
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I’ve always been very tied to language.
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Warhol’s images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn’t think about him a hell of a lot.
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The different aspects of my activity, whether it’s writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don’t make any separation in terms of those practices.
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I want to speak, show, see, and hear outrageously astute questions and comments. I want to be on the sides of pleasure and laughter and to disrupt the dour certainties of pictures, property, and power.
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I think pictures and words have the power to make us rich or poor.
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It’s good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can’t be personalized.
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What I’m trying to do is create moments of recognition.
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I’m living my life, not buying a lifestyle.
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Architecture 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.
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I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.
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I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.
BARBARA KRUGER