I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author’s rendition of events and circumstances.
BARBARA KRUGERDoubt tempers belief with sanity.
More Barbara Kruger Quotes
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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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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’s hard for me to understand how working-class people support themselves.
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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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I had to figure out how to bring the world into my work.
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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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All violence is the illustration of a pathetic stereotype.
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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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Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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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.
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I’m living my life, not buying a lifestyle.
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Teaching at university isn’t like teaching in an art school.
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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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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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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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I think pictures and words have the power to make us rich or poor.
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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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Direct address has been a consistent tactic in my work, regardless of the medium that I’m working in.
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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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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 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 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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What I’m trying to do is create moments of recognition.
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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.
BARBARA KRUGER