Quote

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.

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
Enough
Conventional
Like
Selling
Plenty
Buyer
Slave
Buyers
Objects
Suggesting
Within
Beware
Space
Slaves
Around
Context

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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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Love is something you fall into.
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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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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'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 work with pictures and words because they have the ability to determine who we are, what we want to be and what we become.
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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.
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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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GIVE YOUR BRAIN AS MUCH ATTENTION AS YOU DO YOUR HAIR AND YOU'LL BE A THOUSAND TIMES BETTER OFF.
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I remember going into galleries and seeing this thing called conceptual art, and I understand people’s marginalization from what the art subculture is because if you haven’t crashed the codes, and if you don’t know what it is, you feel it’s a conspiracy against your unintelligence. You feel it’s fraud.
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We are obliged to steal pieces of language, both visual and textual.
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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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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.
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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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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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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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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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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.
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