Barbara Kruger
Barbara Kruger
Barbara Krugeris an American conceptual artist. Much of her work consists of black-and-white photographs overlaid with declarative captions—in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed. The phrases in her works often include pronouns such as "you", "your", "I", "we", and "they", addressing cultural constructions of power, identity, and sexuality. Kruger lives and works in New York and Los Angeles...
NationalityAmerican
ProfessionConceptual Artist
Date of Birth26 January 1945
CityNewark, NJ
CountryUnited States of America
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.
Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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.
Prominence is cool, but when the delusion kicks in it can be a drag. Especially if you choose to surround yourself with friends and not acolytes.
Teaching at university isn't like teaching in an art school.
I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.
There are so many moments and works that influence us in what we do. Movies, music, TV and, most importantly, the profound everydayness of our lives.
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,
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.
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.
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.
It entered the visual vocabulary of photographers, painters and sculptors and focused on what pictures and words look like and what they can mean.
You make history when you do business.
Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.