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.
BARBARA KRUGERI 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.
More Barbara Kruger Quotes
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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 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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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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You make history when you do business.
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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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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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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.
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I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
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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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The place of the arts in the classroom is essential in encouraging invention, ambition, and an understanding of the importance and pleasures of living an examined life.
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It’s hard for me to understand how working-class people support themselves.
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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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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 entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
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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.
BARBARA KRUGER