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.
BARBARA KRUGERIt entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
More Barbara Kruger Quotes
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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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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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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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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 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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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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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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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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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 try to deal with the complexities of power and social life, but as far as the visual presentation goes I purposely avoid a high degree of difficulty.
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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’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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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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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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Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
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I had to figure out how to bring the world into my work.
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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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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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I have no complaints, except for the world.
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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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If I bring up political power, personal power, it sounds like they’re my terms, and they’re not.
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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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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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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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Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.
BARBARA KRUGER