Barbara Kruger Quotes

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.

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.

As with the Princess Di crash, which sent the media on the most insane feeding frenzy. From the moment of the crash, the pornography of sentiment never let up.

Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.

Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.

I don't necessarily think that installation is the only way to go. It's just a label for certain kinds of arrangements.

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.

I had to figure out how to bring the world into my work.

I just say I'm an artist who works with pictures and words.

I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.

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.

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.

I think that every so-called history book and film biography should be prefaced by the statement that what follows is the author's rendition of events and circumstances.

I think there are different ways of being rigorous, and I am asking people to be as rigorous in their pleasure as in their criticism.

I think there are lots of ways to make good work. You can throw big bucks at a project and make what some would call crap, or you can work very modestly with eloquently moving results.

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.

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.

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.

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.

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.

I'm living my life, not buying a lifestyle.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

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.

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.

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.