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.
BARBARA KRUGERIf most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture – not only national culture but global culture.
More Barbara Kruger Quotes
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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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Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
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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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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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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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You make history when you do business.
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I just say I’m an artist who works with pictures and words.
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It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
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I had to figure out how to bring the world into my work.
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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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Listen: our culture is saturated with irony whether we know it or not.
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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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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 hard for me to understand how working-class people support themselves.
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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.
BARBARA KRUGER