Quote

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.

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
Feel
Code
Subculture
Feels
Havens
Crashed
Thing
Haven
Galleries
Going
Seeing
Codes
People
Called
Conceptual
Understand
Gallery
Art
Conspiracy
Remember
Fraud

More quotes by Barbara Kruger

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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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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'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 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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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.
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I'm living my life, not buying a lifestyle.
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But I really resist categories – that naming is a closing down of meaning. Women's art, political art – those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.
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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 want it, you buy it, you forget it.
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You make history when you do business.
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We are obliged to steal pieces of language, both visual and textual.
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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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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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All violence is the illustration of a pathetic stereotype.
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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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I want to speak, show, see, and hear outrageously astute questions and comments. I want to be on the sides of pleasure and laughter and to disrupt the dour certainties of pictures, property, and power.
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I think pictures and words have the power to make us rich or poor.
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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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What I'm trying to do is create moments of recognition.
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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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