What I’m trying to do is create moments of recognition.
BARBARA KRUGERI’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.
More Barbara Kruger Quotes
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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’ve always thought that it’s good to watch the news to find out what everybody else is looking at and believing, if only because that’s how consensus is constructed.
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I just say I’m an artist who works with pictures and words.
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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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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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I have no complaints, except for the world.
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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’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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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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You want it, you buy it, you forget it.
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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 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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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 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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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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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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All violence is the illustration of a pathetic stereotype.
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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.
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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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Architecture 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.
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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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All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.
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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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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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The place of the arts in the classroom is essential in encouraging invention, ambition, and an understanding of the importance and pleasures of living an examined life.
BARBARA KRUGER