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 KRUGERWhat makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.
More Barbara Kruger Quotes
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It’s hard for me to understand how working-class people support themselves.
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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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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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I had to figure out how to bring the world into my work.
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Listen: our culture is saturated with irony whether we know it or not.
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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 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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Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
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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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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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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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I’ve always been very tied to language.
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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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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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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.
BARBARA KRUGER