I 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.
BARBARA KRUGERI have no complaints, except for the world.
More Barbara Kruger Quotes
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All violence is the illustration of a pathetic stereotype.
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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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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’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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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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Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.
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I just say I’m an artist who works with pictures and words.
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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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I’m living my life, not buying a lifestyle.
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It’s hard for me to understand how working-class people support themselves.
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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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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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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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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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I had to figure out how to bring the world into my work.
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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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Belief is tricky because left to its own devices, it can court a kind of surety, an unquestioning allegiance that fears doubt and destroys difference.
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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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You know, one of the only times I ever wrote about art was the obituary of Warhol that I did for the Village Voice.
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Look, we’re all saddled with things that make us better or worse. This world is a crazy place, and I’ve chosen to make my work about that insanity.
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But I really resist categories – that naming is a closing down of meaning. Women’s art, political art – those categorisations perpetuate a certain kind of marginality which I’m resistant to. But I absolutely define myself as a feminist.
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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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Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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You make history when you do business.
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Love is something you fall into.
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I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
BARBARA KRUGER