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.
BARBARA KRUGERListen: our culture is saturated with irony whether we know it or not.
More Barbara Kruger Quotes
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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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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 just say I’m an artist who works with pictures and words.
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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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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 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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Prominence is cool, but when the delusion kicks in it can be a drag. Especially if you choose to surround yourself with friends and not acolytes.
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It’s a small world, but not if you have to clean it
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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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I have no complaints, except for the world.
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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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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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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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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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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 think I developed language skills to deal with threat. It’s the girl thing to do-you know, instead of pulling out a gun.
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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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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 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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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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We are obliged to steal pieces of language, both visual and textual.
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You make history when you do business.
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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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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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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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Teaching at university isn’t like teaching in an art school.
BARBARA KRUGER