I have no complaints, except for the world.
BARBARA KRUGERI feel uncomfortable with the term public art, because I’m not sure what it means. If it means what I think it does, then I don’t do it. I’m not crazy about categories.
More Barbara Kruger Quotes
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Direct address has been a consistent tactic in my work, regardless of the medium that I’m working in.
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What I’m trying to do is create moments of recognition.
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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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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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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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Memory is your image of perfection.
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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 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 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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It’s a small world, but not if you have to clean it
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Doubt tempers belief with sanity.
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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.
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It’s hard for me to understand how working-class people support themselves.
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All violence is the illustration of a pathetic stereotype.
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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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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 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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You make history when you do business.
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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.
BARBARA KRUGER -
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 KRUGER -
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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Listen: our culture is saturated with irony whether we know it or not.
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Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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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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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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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.
BARBARA KRUGER