Quote

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.

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
Contempt
Problems
Particularly
Within
Findings
Others
Finding
Exoticism
Power
Street
Objectifying
Problem
Photography
Photojournalism
Might
Toward
Projecting
Feel
Abusive
Feels
Streets

More quotes by Barbara Kruger

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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've always been very tied to language.
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Love is something you fall into.
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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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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'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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What I'm trying to do is create moments of recognition.
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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 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'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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Money talks. It makes art. It determines what food we eat, whether we are cured or die, and what shoes we wear.
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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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We are obliged to steal pieces of language, both visual and textual.
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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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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 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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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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If I bring up political power, personal power, it sounds like they're my terms, and they're not.
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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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