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.
BARBARA KRUGERPhotography 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.
More Barbara Kruger Quotes
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I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I’m trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
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I’ve always been very tied to language.
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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 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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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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I’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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I’m an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.
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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.
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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’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.
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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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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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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 the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It’s scary.
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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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