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I 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.

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
Art
Categories
Doe
Uncomfortable
Feel
Crazy
Feels
Public
Mean
Term
Think
Sure
Thinking
Means
Artist

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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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Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.
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I had to figure out how to bring the world into my work.
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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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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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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.
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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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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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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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You want it, you buy it, you forget it.
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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 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 have problems with a lot of photography, particularly street photography and photojournalism - objectifying the other, finding the contempt and exoticism that you might feel within yourself or toward yourself and projecting it out to others. There can be an abusive power to photography, too.
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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 what I'm trying to do is create moments of recognition. To try to detonate some kind of feeling or understanding of lived experience.
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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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I've always thought that it's good to watch the news to find out what everybody else is looking at and believing, if only because that's how consensus is constructed.
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I think pictures and words have the power to make us rich or poor.
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We are obliged to steal pieces of language, both visual and textual.
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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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