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 KRUGERMemory is your image of perfection.
More Barbara Kruger Quotes
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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 had to figure out how to bring the world into my work.
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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 have frequently said, and I will repeat again, in the manner of any well-meaning seriality, that I’m interested in mixing the ingratiation of wishful thinking with the criticality of knowing better.
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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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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’m trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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It’s hard for me to understand how working-class people support themselves.
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I’ve always been very tied to language.
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You want it, you buy it, you forget it.
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Fashion is everywhere and about everything. It is folly, vanity and the fun of it all. It is disguise, innuendo, and cunning. It is mean, gorgeous and ambitious, and definitely the last word for the next few seconds.
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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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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.
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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 reason why bookstores are going out of business in the States is that people just can’t focus on longer narratives now – even narrative film is in crisis in many ways, unless it’s an adventure film.
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I think pictures and words have the power to make us rich or poor.
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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.
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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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What makes the production of my work so expensive? The whole installation thing – the construction, the objects, the technology. It really adds up.
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Love is something you fall into.
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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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Listen: our culture is saturated with irony whether we know it or not.
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Teaching at university isn’t like teaching in an art school.
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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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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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Do you know why language manifests itself the way it does in my work? It’s because I understand short attention spans.
BARBARA KRUGER