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.
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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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.
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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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Images are made palpable, ironed flat by technology and, in turn, dictate the seemingly real through the representative.
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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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All violence is the illustration of a pathetic stereotype.
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I had to figure out how to bring the world into my work.
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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 -
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.
BARBARA KRUGER -
I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.
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GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU’LL BE A THOUSAND TIMES BETTER OFF.
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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 think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.
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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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All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.
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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.
BARBARA KRUGER






