Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
BARBARA KRUGERMoney talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
More Barbara Kruger Quotes
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I had to figure out how to bring the world into my work.
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I have frequently said, and I will repeat again, in the manner of any well-meaning seriality, that I’m interested in mixing the ingratiation of wishful thinking with the criticality of knowing better.
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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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I think I developed language skills to deal with threat. It’s the girl thing to do-you know, instead of pulling out a gun.
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I’m an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.
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Fashion is everywhere and about everything. It is folly, vanity and the fun of it all. It is disguise, innuendo, and cunning. It is mean, gorgeous and ambitious, and definitely the last word for the next few seconds.
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I feel uncomfortable with the term public art, because I’m not sure what it means. If it means what I think it does, then I don’t do it. I’m not crazy about categories.
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Love is something you fall into.
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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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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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Doubt tempers belief with sanity.
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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.
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I don’t necessarily think that installation is the only way to go. It’s just a label for certain kinds of arrangements.
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What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.
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Prominence is cool, but when the delusion kicks in it can be a drag. Especially if you choose to surround yourself with friends and not acolytes.
BARBARA KRUGER