Barbara Kruger Quotes
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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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When I hear the word Culture I take out my checkbook
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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'm trying to deal with ideas about histories, fame, hearsay, and how public identities are 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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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'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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All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
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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.
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Listen: our culture is saturated with irony whether we know it or not.
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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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I think that art is still a site for resistance and for the telling of various stories, for validating certain subjectivities we normally overlook. I'm trying to be affective, to suggest changes, and to resist what I feel are the tyrannies of social life on a certain level.
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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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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.
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I had to figure out how to bring the world into my work.
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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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I'm living my life, not buying a lifestyle.
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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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Seeing is no longer believing. The very notion of truth has been put into crisis. In a world bloated with images, we are finally learning that photographs do indeed lie.
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Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.
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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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Things change and work changes. Right now I like the idea of enveloping a space and getting messages across that connect to the world in ways that seem familiar but are different.
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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.
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I've always been very tied to language.