Quote

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

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Barbara Kruger
Age: 79
Born: 1945
Born: January 26
Artist
Conceptual Artist
Painter
Photographer
Visual Artist
Newark
New Jersey
Barbarah Ḳruger
Barbarah Kruger
Barabra Kruger
Really
Add
Objects
Technology
Installation
Artist
Adds
Makes
Construction
Whole
Production
Thing
Productions
Work
Expensive

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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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I'm an artist who works with pictures and words. Sometimes that stuff ends up in different kinds of sites and contexts which determine what it means and looks like.
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I had to figure out how to bring the world into my work.
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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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If I bring up political power, personal power, it sounds like they're my terms, and they're not.
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Love is something you fall into.
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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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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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I've always been very tied to language.
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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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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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I think pictures and words have the power to make us rich or poor.
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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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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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You make history when you do business.
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Architecture is my first love, if you want to talk about what moves me... the ordering of space, the visual pleasure, architecture's power to construct our days and nights.
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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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We are obliged to steal pieces of language, both visual and textual.
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You want it, you buy it, you forget it.
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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.
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