Quotes by: Barbara Kruger
Barbara Kruger at ACCA, Melbourne
January 26, 1945 |
Newark, New Jersey, U.S.
||Syracuse University, Parsons School of Design, New York
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.
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.
Power doesn't just exist. It is threaded through different mechanisms of control. I'm interested in those complexities. But I want to address that in very forthright language and sometimes with images.
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.
I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.
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.
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.
I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author's rendition of events and circumstances.
One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.
Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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.
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
I've never worked in advertising - my experience was as an editorial designer for magazines - but you could say, in the bigger picture, that magazines are vehicles for colour advertising.
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.
Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.
Even when I was a little girl, I remember going to the Museum of Modern Art. I think my parents took me there once or twice. And what I really remember is the design collection.
I believe that who we are, and consequently the work that we make, whether we're visual artists or writers or journalists or filmmakers, is a projection of where we were born, what's been withheld or lavished upon us, our color, our sex, our class. And everything we do in life to some degree is a reflection of that context.
Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.
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.
What makes the production of my work so expensive? The whole installation thing - the construction, the objects, the technology. It really adds up.
I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
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.