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 KRUGERI 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.
More Barbara Kruger Quotes
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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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All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.
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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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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 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 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 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 I’m trying to do is create moments of recognition.
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I have no complaints, except for the world.
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I’d always been a news junkie, always read lots of newspapers and watched the Sunday morning news shows on TV and felt strongly about issues of power, control, sexuality and race.
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Listen: our culture is saturated with irony whether we know it or not.
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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.
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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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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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GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU’LL BE A THOUSAND TIMES BETTER OFF.
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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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I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.
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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 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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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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Teaching at university isn’t like teaching in an art school.
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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 think architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.
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I like suggesting that ‘we are slaves to the objects around us,’ that ‘plenty should be enough,’ or that the ‘buyer should beware,’ within the context of conventional selling space.
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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’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
BARBARA KRUGER