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.
BARBARA KRUGERArchitecture 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.
More Barbara Kruger Quotes
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Prominence is cool, but when the delusion kicks in it can be a drag. Especially if you choose to surround yourself with friends and not acolytes.
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I have no complaints, except for the world.
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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’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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The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.
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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 work with pictures and words because they have the ability to determine who we are, what we want to be and what we become.
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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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I’ve always been very tied to language.
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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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Love is something you fall into.
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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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If I bring up political power, personal power, it sounds like they’re my terms, and they’re not.
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Listen: our culture is saturated with irony whether we know it or 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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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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It’s a small world, but not if you have to clean it
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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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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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Memory is your image of perfection.
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Art is as heavy as sorrow, as light as a breeze, as bright as an idea, as pretty as a picture, as funny as money, and as fugitive as fraud!
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Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.
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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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We are obliged to steal pieces of language, both visual and textual.
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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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Direct address has been a consistent tactic in my work, regardless of the medium that I’m working in.
BARBARA KRUGER