It’s hard for me to understand how working-class people support themselves.
BARBARA KRUGERIt’s hard for me to understand how working-class people support themselves.
More Barbara Kruger Quotes
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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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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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I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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I think what I’m trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.
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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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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 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 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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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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I’m trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.
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I’ve always been very tied to language.
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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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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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Listen: our culture is saturated with irony whether we know it or not.
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Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
BARBARA KRUGER