If 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.
BARBARA KRUGERI 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.
More Barbara Kruger Quotes
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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 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.
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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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I had to figure out how to bring the world into my work.
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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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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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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 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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Teaching at university isn’t like teaching in an art school.
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I just say I’m an artist who works with pictures and words.
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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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Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
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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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If I bring up political power, personal power, it sounds like they’re my terms, and they’re not.
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It’s good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can’t be personalized.
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There’s a moment of recognition. It’s that white-light kind of stuff that just “works.” I love that. And you know it when it happens, whether it’s a movie, music, a building, a book.
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Direct address has been a consistent tactic in my work, regardless of the medium that I’m working in.
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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.
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I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I’m trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
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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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Love is something you fall into.
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What I’m trying to do is create moments of recognition.
BARBARA KRUGER -
I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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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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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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It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
BARBARA KRUGER