I’ve always been very tied to language.
BARBARA KRUGERI think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.
More Barbara Kruger Quotes
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Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.
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I had to figure out how to bring the world into my work.
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The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.
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Art is as heavy as sorrow, as light as a breeze, as bright as an idea, as pretty as a picture, as funny as money, and as fugitive as fraud!
BARBARA KRUGER -
I think pictures and words have the power to make us rich or poor.
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I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I’m trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
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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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Love is something you fall into.
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You want it, you buy it, you forget it.
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I try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.
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Look, we’re all saddled with things that make us better or worse. This world is a crazy place, and I’ve chosen to make my work about that insanity.
BARBARA KRUGER -
GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU’LL BE A THOUSAND TIMES BETTER OFF.
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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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Direct address has been a consistent tactic in my work, regardless of the medium that I’m working in.
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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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There’s a moment of recognition. It’s that white-light kind of stuff that just “works.” I love that. And you know it when it happens, whether it’s a movie, music, a building, a book.
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I’m living my life, not buying a lifestyle.
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As with the Princess Di crash, which sent the media on the most insane feeding frenzy. From the moment of the crash, the pornography of sentiment never let up.
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It’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.
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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 want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
BARBARA KRUGER -
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 -
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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Teaching at university isn’t like teaching in an art school.
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All violence is the illustration of a pathetic stereotype.
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It’s hard for me to understand how working-class people support themselves.
BARBARA KRUGER