the art world has always been an unrelenting taste machine, but now flavors of the month have morphed into flavors of the minute. Again, all a reflection of a wider cultural condition. I mean, the art world is slow compared with the music and movie businesses.
BARBARA KRUGERMoney talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.
More Barbara Kruger Quotes
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All violence is the illustration of a pathetic stereotype.
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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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Doubt tempers belief with sanity.
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I 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.
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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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Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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I just say I’m an artist who works with pictures and words.
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I’ve always been very tied to language.
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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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I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.
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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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The reason why bookstores are going out of business in the States is that people just can’t focus on longer narratives now – even narrative film is in crisis in many ways, unless it’s an adventure film.
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I have no complaints, except for the world.
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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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You want it, you buy it, you forget it.
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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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Teaching at university isn’t like teaching in an art school.
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We are obliged to steal pieces of language, both visual and textual.
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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 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.
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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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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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If I bring up political power, personal power, it sounds like they’re my terms, and they’re not.
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All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.
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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.
BARBARA KRUGER