Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.
BARBARA KRUGERI 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.
More Barbara Kruger Quotes
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Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.
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Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
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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.
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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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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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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.
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I’m living my life, not buying a lifestyle.
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There are so many moments and works that influence us in what we do. Movies, music, TV and, most importantly, the profound everydayness of our lives.
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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’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 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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We are obliged to steal pieces of language, both visual and textual.
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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 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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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.
BARBARA KRUGER