Quotes of All Topics . Occasions . Authors
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.
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.
Architecture is my first love, if you want to talk about what moves me... the ordering of space, the visual pleasure, architecture's power to construct our days and nights.
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?
Even when I was a little girl, I remember going to the Museum of Modern Art. I think my parents took me there once or twice. And what I really remember is the design collection.
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.
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.
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.
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 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.
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.
There's a moment of recognition. It's that white-light kind of stuff that just "works." I love that. And you know it when it happens, whether it's a movie, music, a building, a book.
There's a moment of recognition. It's that white-light kind of stuff that just 'works.' I love that. And you know it when it happens, whether it's a movie, music, a building, a book.
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 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 architecture is one of the predominant orderings of social space. It can construct and contain our experiences. It defines our days and nights. It literally puts us in our place.
I've never worked in advertising - my experience was as an editorial designer for magazines - but you could say, in the bigger picture, that magazines are vehicles for colour advertising.
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 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.
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.
Power doesn't just exist. It is threaded through different mechanisms of control. I'm interested in those complexities. But I want to address that in very forthright language and sometimes with images.
I'm trying to engage issues of power and sexuality and money and life and death and power. Power is the most free-flowing element in society, maybe next to money, but in fact they both motor each other.
The reason why bookstores are going out of business in the States is that people just can't focus on longer narratives now - even narrative film is in crisis in many ways, unless it's an adventure film.
Photography has saturated us as spectators from its inception amidst a mingling of laboratorial pursuits and magic acts to its current status as propagator of convention, cultural commodity, and global hobby.
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.
I didn't finish college; my parents didn't graduate college - we didn't have a pot to piss in. I'm from Newark, New Jersey. I had to work. I didn't think it would be possible for me to be an artist without having a job.
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.
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.
One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.
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.
the art world has always been an unrelenting taste machine, but now flavors of the month have morphed into flavors of the minute. Again, all a reflection of a wider cultural condition. I mean, the art world is slow compared with the music and movie businesses.
I think that designers have an incredibly broad creative repertoire. They solve. They create images of perfection for any number of clients. I could never do that. I'm my client. That's the difference between an artist and a designer; it's a client relationship.
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.
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.
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.
I always say that I'm an artist who works with pictures and words, so I think that 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.
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.
I believe that who we are, and consequently the work that we make, whether we're visual artists or writers or journalists or filmmakers, is a projection of where we were born, what's been withheld or lavished upon us, our color, our sex, our class. And everything we do in life to some degree is a reflection of that context.
I see my work as a series of attempts to ruin certain representations and to welcome a female spectator into the audience of men. If this work is considered incorrect, all the better, for my attempts aim to undermine that singular pontificating male voice-over which correctly instructs our pleasures and histories or lack of them.
... the thing that's happening today vis-á-vis computer imaging, vis-á-vis alteration, is that it no longer needs to be based on the real at all. I don't want to get into jargon - let's just say that photography to me no longer pertains to the rhetoric of realism; it pertains more perhaps to the rhetoric of the unreal rather than the real or of course the hyperreal.
I think that the exactitude of the photograph has a sort of compelling nature based in its power to duplicate life. But to me the real power of photography is based in death: the fact that somehow it can enliven that which is not there in a kind of stultifying frightened way, because it seems to me that part of one's life is made up of a constant confrontation with one's own death.