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The Required Reading for This Module Features the Slogan, 'i Shop Therefore I Am'

American artist

Barbara Kruger
Born (1945-01-26) January 26, 1945 (age 77)

Newark, New Jersey, U.S.
Nationality American
Teaching Syracuse Academy
Parsons Schoolhouse of Design, New York
Known for Visual art and graphic design

Notable work

 I Shop Therefore I Am (1987), Your Torso is a Battleground (1985), You Are Non Yourself (1981), Untitled (You Invest in the Divinity of the Masterpiece) (1982), Face It (Light-green) (2007), Untitled (Know Nothing, Believe Anything, Forget Everything) (2014)
Movement Feminism, Pictures Generation
Awards Leone D'Oro Venice Biennale, Goslarer Kaiserring

Barbara Kruger (born January 26, 1945) is an American conceptual artist and collagist associated with the Pictures Generation.[1] She is most known for her collage mode that consists of black-and-white photographs, overlaid with declarative captions, stated in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed text.[ii] The phrases in her works oft include pronouns such as "y'all", "your", "I", "nosotros", and "they", addressing cultural constructions of ability, identity, consumerism, and sexuality. Kruger's creative mediums include photography, sculpture, graphic blueprint, compages, too as video and audio installations.[3]

Kruger lives and works in New York and Los Angeles.[4] She is an Emerita Distinguished Professor of New Genres at the UCLA School of the Arts and Architecture.[v]

Early life and career [edit]

Kruger was born into a working class family[6] [vii] [viii] in Newark, New Jersey. Her father worked as a chemical technician for Shell Oil[9] and her mother was a legal secretary.

Kruger graduated from Weequahic Loftier Schoolhouse.[10] She attended Syracuse Academy, but left afterwards 1 year due to the death of her begetter.[9] After her year at Syracuse University, in 1965, she went on to attend the Parsons School of Design in New York for a semester. Over the next 10 years, Kruger established herself whilst pursuing graphic design for magazines and freelance picture editing, every bit well as designing volume jackets.[11] By the late 1960s, Kruger became interested in poetry, and began attention poetry readings too as writing her own poetry. While at Parsons School of Design, Kruger studied art and design with Diane Arbus and Marvin Israel, and soon obtained a design task at Condé Nast Publications.[4] Shortly after, Kruger was awarded the position of head designer for the following year. She initially worked as a designer at Mademoiselle and later on moved on to work part-time as a pic editor for House and Garden, Aperture, and other publications.[12] She as well wrote movie, television, and music columns for Artforum and REALLIFE Mag at the suggestion of her friend Ingrid Sischy.[9]

Kruger's primeval works date back to 1969, when she began creating large wall hangings which incorporated materials such as yarn, beads, sequins, feathers, and ribbons. These pieces represented the feminist reclamation of craft during this flow.[13] Kruger crocheted, sewed, and painted brightly hued and erotically suggestive objects, some of which were included by curator Marcia Tucker in the 1973 Whitney Biennial.[8] She drew her inspiration for these pieces from Magdalena Abakanowicz'southward prove at the Museum of Modern Art. Although some of these works were included in the Whitney Biennial, Kruger became detached and unsatisfied with her working output.[11] In 1976, she took a intermission from making what had become more abstract works, feeling that her piece of work had become meaningless and mindless.[ix] She then moved to Berkeley, California, where she taught at the University of California and became inspired past the writings of Walter Benjamin and Roland Barthes.[9] In 1977, she returned to making fine art, working with her ain architectural photographs and publishing an fine art book, Picture/Readings, in 1979.[14] She was inspired to photograph architecture by her family's practise of touring "model homes they could never afford".[15]

At the first of her art career, Kruger reportedly felt intimidated by entering New York galleries due to the prevailing atmosphere of the art scene which, to her, did not welcome "specially independent, non-masochistic women".[ix] However, she received early support for her projects from groups such as the Public Fine art Fund, which encouraged her to keep making art.[15] She switched to her modern practice of collage in the early 1980s.

Artistic practise [edit]

Addressing issues of language and sign, Kruger has often been grouped with such feminist postmodern artists equally Jenny Holzer, Sherrie Levine, Martha Rosler, and Cindy Sherman.[14] Like Holzer and Sherman, in item, she uses the techniques of mass advice and advertising to explore gender and identity.[16] She discusses her involvement in representing "how we are to 1 another"[17] and the "wide sort of scope"[17] this provides for her work. Kruger is considered to exist function of the Pictures Generation.[18]

Imagery and text [edit]

Belief+Incertitude (2012) at the Hirshhorn Museum and Sculpture Garden

Much of Kruger'southward work pairs constitute photographs with pithy and assertive text that challenges the viewer,[8] known as word art.[19] [20] Her method includes developing her ideas on a computer, later transferring the results (ofttimes billboard-sized) into printed images.[eight] Examples of her instantly recognizable slogans include "I shop therefore I am", "Your body is a battleground", and "You are not yourself" appearing in her signature white letters against a cerise background. Almost of her work deals with provocative topics like feminism, consumerism, and individual autonomy and desire, oftentimes appropriating images from mainstream magazines and using her assuming phrases to frame them in a new context.

Kruger has said that, "I piece of work with pictures and words because they have the ability to determine who nosotros are and who we aren't."[21] A recurring element in her piece of work is the appropriation and alteration of existing images. In describing her utilise of cribbing, Kruger states:

Pictures and words seem to become the rallying points for certain assumptions. There are assumptions of truth and falsity and I guess the narratives of falsity are called fictions. I replicate certain words and scout them stray from or coincide with the notions of fact and fiction.[22]

Her poster for the 1989 Women's March on Washington in support of legal abortion included a woman's face bisected into positive and negative photographic reproductions, accompanied by the text "Your torso is a battleground."[8] A year later, Kruger used this slogan in a billboard commissioned by the Wexner Center for the Arts. Twelve hours afterwards, a group opposed to ballgame responded to Kruger's piece of work by replacing the next billboard with an paradigm depicting an eight-week-old fetus.[23]

Kruger'south early monochrome pre-digital works, known as 'paste ups', reveal the influence of the creative person's experience as a magazine editorial designer during her early on career. These small calibration works, the largest of which is xi x 13 inches (28 10 33 cm), are composed of altered found images, and texts either culled from the media or invented past the artist. A negative of each piece of work was then produced and used to make enlarged versions of these initial 'paste ups'.[24] Between 1978 and 1979, she completed "Motion-picture show/Readings", simple photographs of small-scale houses alternating with panels of words.[8] From 1992 on, Kruger designed covers for a number of magazines, including Ms., Esquire, Newsweek, and The New Commonwealth.[25] Her signature font style of Futura Bold type is likely inspired by the "Big Idea" or "Artistic Revolution" advertisement mode of the 1960s that she was exposed to during her feel at Mademoiselle.[ix]

In 1990, Kruger roused the Japanese American community of Little Tokyo, Los Angeles, with her proposal to paint the Pledge of Allegiance, bordered by provocative questions, on the side of a warehouse in the heart of the historic downtown neighborhood.[8] Kruger had been commissioned by MOCA to paint a mural for "A Forest of Signs: Art in the Crisis of Representation", a 1989 exhibition that too included works by Barbara Bloom, Jenny Holzer, Jeff Koons, Sherrie Levine, and Richard Prince. But before the mural went up, Kruger herself and curator Ann Goldstein presented it at various community meetings over a menstruum of 18 months.[26] After participants voiced protests almost her design, the artist offered to eliminate the pledge from her mural proposal, while even so retaining a series of questions painted in the colors and format of the American flag: "Who is bought and sold? Who is beyond the law? Who is gratuitous to choose? Who follows orders? Who salutes longest? Who prays loudest? Who dies first? Who laughs last?".[8] A full year after the exhibition airtight, Kruger's reconfigured mural finally went upwardly for a two-year run.[26]

In 1995, with architects Henry Smith-Miller and Laurie Hawkinson and landscape architect Nicholas Quennell, she designed the 200-human foot-long (60 1000) sculptural letters Picture This for a stage and outdoor amphitheater at the North Carolina Museum of Art, Raleigh.[eight]

For a site-specific piece that she produced at the Parrish Fine art Museum in 1998, Kruger placed across the upper range of the museum's Romanesque facade stark scarlet letters that read, "You belong hither"; below, on columns separating three arched entry portals, stacked messages spelled "Money" and "Taste".[27] As role of the Venice Biennale in 2005, Kruger installed a digitally printed vinyl landscape across the entire facade of the Italian pavilion, thereby dividing it into three parts—green at the left, ruby at the right, white in between. In English language and Italian, the words "money" and "ability" climbed the portico'south columns; the left wall said, "Pretend things are going as planned", while "God is on my side; he told me so" filled the right.[28] In 2012, her installation Belief+Dubiousness, which covers 6,700 square anxiety (620 m2) of area and was printed on wallpaper-like sheets in the artist'due south signature colors of red, black, and white, was installed at the Hirshhorn Museum and Sculpture Garden.[29]

Public transport [edit]

In 1994, Kruger's L'empathie peut changer le monde (Empathy can change the world) was installed on a train station platform in Strasbourg, France. For a 1997 bear witness in New York, Kruger had urban center buses wrapped with quotations from figures such as Malcolm X, Courtney Dearest, and H.L. Mencken. To promote Kruger'due south first retrospective, at the Museum of Contemporary Art, Los Angeles, she created fifteen billboards and countless wild postings, executed and installed in both English language and Castilian.[8] In support of a public awareness entrada to promote arts teaching in the Los Angeles Unified School District, Kruger covered a autobus with phrases like, "Give your brain as much attention as you do your hair and you'll be a thousand times improve off"; "from hither to there"; "Don't be a wiggle"; and "You want it. You buy it. You forget it."[thirty] In 2017, Kruger'due south artwork was featured on fifty,000 express edition MetroCards released by New York's Metropolitan Transit Authority.[31]

Fashion [edit]

In 1984, Kruger created a T-shirt pattern that featured a diddled-up image of a woman's face up with text running across the figure's eyes and oral cavity reading, "I tin't look at you ... and breathe at the same time." The shirt was produced as a collaborative project with fashion designer Willi Smith for his WilliWear Productions label.[32]

In 2017, Kruger collaborated with clothing brand Volcom for her contribution to the Perfoma 17 biennial in New York. She created a pop-up shop in the city'due south SoHo neighborhood where T-shirts, beanies, sweatshirts, and skateboards were up for sale.[33]

Permanent installations [edit]

Between 1998 and 2008, Kruger created permanent installations for the Fisher College of Business organization, the Broad Contemporary Art Museum at LACMA, and the Price Center at the University of California, San Diego.[34] From 2008 until 2011, the Moderna Museet in Stockholm showed a site-specific work consisting of three large, wall mounted collages at the museum'southward archway area.[35] In 2012, Kruger created the permanent installation of her work Conventionalities+Dubiety in the lower level of the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

Barbara Kruger at ACCA, Melbourne

Other works [edit]

Since the mid-1990s, Kruger has created big-scale immersive video and audio installations. Enveloping the viewer with the seductions of straight accost, the work continues her questioning of power, command, affection, and contempt: still images now motion and speak and spatialize their commentary.[36] In 1997, Kruger produced a series of fiberglass sculptures of compromised public figures, including John F. and Robert F. Kennedy hoisting Marilyn Monroe on their shoulders.[8] In 2016, Kruger created a work protesting the election of Donald Trump for the comprehend of New York magazine and participated in a January xx, 2017, inauguration cold-shoulder.[37] [38] For the 2020 edition of the Frieze Art Off-white in Los Angeles, she presented a series of 20 questions—including "Who do you think yous are?" and "Who dies first? Who laughs last?"—displayed across digital billboards, street banners, landmarks, and public spaces throughout the city.[39]

Teaching [edit]

Kruger has taught an Independent Study Plan at the Whitney Museum, and at the California Institute of the Arts in Valencia, the University of California, Berkeley, and in Chicago. After educational activity for five years at UCSD, she joined the kinesthesia at the UCLA Schoolhouse of the Arts and Compages, where she is a Distinguished Professor of New Genres. In 1995–96, she was artist in residence at the Wexner Heart for the Arts, where she created Public Service Announcements addressing the upshot of domestic violence.[40] In 2000, she was the Wiegand Foundation Artist in Residence at Scripps Higher, Claremont.[41] She has written nigh television, picture show, and civilisation for Artforum, Esquire, The New York Times, and The Village Voice.

Connections with other artists [edit]

Kruger was involved with a group of artists who had graduated from CalArts and gravitated to New York City in the 1970s, including Ross Bleckner and David Salle, listing them every bit her starting time peer group. She considered Diane Arbus to be her "first female role model ... that didn't wash the floor half dozen times a solar day." She also associated with Julian Schnabel, Marilyn Lerner, Sherrie Levine, Cindy Sherman, James Welling, Nancy Dwyer, Louise Lawler, Sarah Charlesworth, Laurie Simmons, Carol Squiers, Judith Barry, Jenny Holzer, Richard Prince, Becky Johnston, and Lynne Tillman. Kruger joined the grouping called Artists Coming together for Cultural Modify in the 1970s, only noted about the experience, "I wasn't a real [sic] active speaker; I was intimidated but likewise curious."[xv] In the aforementioned interview, Kruger explained that, although she was friends with a wide range of artists, she was not really influenced by them because she was working to support herself. In the early 1980'south, Kruger also associated and exhibited with Colab artists, such as at the Isle of Negative Utopia show at The Kitchen in 1984.

Exhibitions [edit]

In 1979, Barbara Kruger exhibited her first works combining appropriated photographs and fragments of superimposed text at P.S. one Contemporary Art Center, in Long Island City, Queens. Her first institutional testify was staged in London, when Iwona Blazwick decided to exhibit her work at the Institute of Contemporary Arts in 1983.[42] In 1999, the Museum of Gimmicky Fine art in Los Angeles mounted the first retrospective exhibition to provide a comprehensive overview of Kruger'southward career since 1978; the prove travelled to the Whitney Museum of American Fine art in New York in 2000.[43] Kruger has since been the subject of many one-person exhibitions, including shows organized by the Found of Contemporary Arts in London (1983), the Musée d'art contemporain de Montréal (1985), Serpentine Gallery in London (1994), Palazzo delle Papesse Centro Arte Contemporanea in Siena (2002), the Museum of Contemporary Art San Diego (2005), and Moderna Museet in Stockholm (2008).

In 2009, Kruger was included among the seminal artists whose work was exhibited in "The Pictures Generation, 1974–1984" at the Metropolitan Museum of Art. Kruger has also participated in the Whitney Biennial (1983, 1985, and 1987) and Documenta 7 and eight (1982 and 1987). She represented the United States at the Venice Biennale in 1982 and again participated in 2005, when she received the Leone d'Oro for lifetime achievement.

In 2007, Kruger was one of the many artists to exist a part of South korea'due south Incheon Women Artists' Biennale in Seoul. This marked South korea's outset women'south biennial.[44] That aforementioned twelvemonth, she designed "Consider This...", an exhibition at the Los Angeles Canton Museum of Art.[45] In September 2009, Kruger'due south Between Beingness Born and Dying, a major installation commissioned by the Lever Business firm Fine art Collection, opened at the New York Metropolis architectural landmark Lever House. In 2012, equally a member of the board of the Museum of Contemporary Fine art, Los Angeles (MOCA), Kruger volunteered to be the lead funder of the museum's scholarly exhibit Ends of the Earth: Land Art to 1974 and to create a new work on vinyl to sell, with proceeds going entirely toward the show's $1 million budget.[46] An exhibition of new and recent work from Kruger was hosted by Modern Art Oxford in 2014.[47] In 2016, as function of the celebration of the reopening of the East Edifice Tower Gallery post-obit years of renovation, The National Gallery of Fine art created an exhibition showcasing xiii works by Barbara Kruger.[48]

From September 19, 2021, to January 24, 2022, Barbara Kruger: Thinking of You, I Hateful Me, I Mean You is a wide comprehensive, immersive exhibition at the Art Institute of Chicago, traveling in 2022 to Los Angeles Canton Museum of Art ( LACMA ).[49]

Kruger's words and pictures accept been displayed in both galleries and public spaces, as well every bit offered as framed and unframed photographs, posters, postcards, T-shirts, electronic signboards, façade banners, and billboards.

Personal life [edit]

Kruger lives in the Beachwood Canyon neighborhood of Los Angeles. [50] [51]

Recognition [edit]

The Museum of Contemporary Art, Los Angeles awarded Kruger the MOCA Award to Distinguished Women in the Arts in 2001.[52] In 2005, she was included in The Feel of Fine art at the Venice Biennale[53] and was the recipient of the Leone d'Oro for lifetime accomplishment.[54] At the 10th anniversary Gala in the Garden at the Hammer Museum in 2012, Kruger was honored by TV presenter Rachel Maddow.[55] In 2012, Kruger joined John Baldessari and Catherine Opie in leaving the Museum of Contemporary Art's board in protest,[56] simply afterward returned in support of the museum's new managing director, Philippe Vergne, in 2014.[57] In 2021, Kruger was included in Time magazine'south almanac list of the 100 Virtually Influential People.[58]

Art market [edit]

Kruger'southward first dealer was Gagosian Gallery, with which she did two shows in Los Angeles in the early 1980s.[42] In 1986, she was the commencement woman to join the prominent gimmicky fine art gallery of Mary Boone[59] and has had ix solo shows there. Post-obit's the gallery's closure, she moved to David Zwirner Gallery in 2019.[60] Kruger is as well represented by Rhona Hoffman Gallery, Chicago; and Sprüth Magers Berlin London (since 1985)[sixty] and L&M Arts in Los Angeles.

In late 2011, Kruger's 1985 photo of a ventriloquist's dummy, Untitled (When I Hear the Discussion Civilization I Take Out My Checkbook), was sold at Christie's for a record $902,500.[29]

Supreme lawsuit [edit]

Supreme, a skateboard and clothes brand established in 1994, take been accused of taking their logo—the white word "Supreme" on a red box—from Kruger's signature manner. James Jebbia, founder of Supreme, has admitted that the logo was taken from Kruger's work.[61] Kruger herself had not commented on this issue until a recent lawsuit between Supreme and Leah McSweeney, founder of Married to the Mob (MTTM), a women's street clothing make. MTTM used the Supreme logo to brand a "Supreme Bitch" logo that was printed on T-shirts and hats. In response, Kruger said, "What a ridiculous clusterfuck of totally uncool jokers. I make my work about this kind of sadly foolish farce. I'm waiting for all of them to sue me for copyright infringement."[62] Eventually the lawsuits were dropped upon the parties reaching an agreement that McSweeney could continue to utilise the phrase "Supreme Bowwow" as long every bit it was "not in the way Barbara Kruger does."[63] [64]

Books [edit]

  • My Pretty Pony (1989), text by Stephen Male monarch, illustrations by Barbara Kruger, Library Fellows of the Whitney Museum of American Art
  • Barbara Kruger: seven Jan to 28 January 1989 by Barbara Kruger, Mary Boone Gallery, 1989
  • Barbara Kruger: five Jan to 26 January 1991 by Barbara Kruger, 1991
  • Remote Control: Power, Cultures, and the World of Appearances past Barbara Kruger, 1994
  • Honey for Sale by Kate Linker, 1996
  • Remaking History (Discussions in Contemporary Civilization, No 4) by Barbara Kruger, 1998
  • Thinking of You lot, 1999 (The Museum of Contemporary Art, Los Angeles)
  • Barbara Kruger by Angela Vettese, 2002
  • Money Talks by Barbara Kruger and Lisa Phillips, 2005
  • Barbara Kruger by Barbara Kruger, Rizzoli 2010

Film and video [edit]

  • "The Earth Shrinks". 2010
  • "Pleasure, Pain, Desire, Cloy". 1997
  • "Twelve". 2004
  • Bulls on Parade video clip, Rage Against the Auto (1996)
  • "Art in the 20-First Century". 2001
  • "Cinefile: Reel Women". 1995
  • "Picturing Barbara Kruger". 2015[65]

See also [edit]

  • Art & Language
  • Yous Are Not Yourself, 1981 work by Kruger
  • Feminist art move in the United states
  • Shepard Fairey
  • Emi Fontana
  • Jenny Holzer
  • Martin Firrell
  • Louise Lawler
  • Cindy Sherman
  • Mike Kelley
  • Joel Wachs, Los Angeles City Council member who helped Kruger go permission for an outdoor art piece[66]

References [edit]

  1. ^ "Barbara Kruger, Advertizement Industry Heroine". Slate. July xix, 2000. Retrieved January 10, 2017.
  2. ^ "Female Iconoclasts: Barbara Kruger". Artland Magazine. September eighteen, 2020. Retrieved October 10, 2021.
  3. ^ "UCLA Department of Art | Faculty". www.fine art.ucla.edu . Retrieved October 10, 2021.
  4. ^ a b "Barbara Kruger". PBS. Retrieved April 14, 2014.
  5. ^ "UCLA Department of Art | Faculty". www.fine art.ucla.edu . Retrieved December 28, 2019.
  6. ^ Hyman, Paula E., Moore, Deborah Nuance (1998). Jewish Women in America. An Historical Encyclopedia. New York, NY: Routledge. Sponsored by The American Jewish Historical Social club. ISBN 0-415-91934-7. (from page 764)
  7. ^ Dashkin, Michael (February 27, 2009). "Barbara Kruger, b. 1945". Jewish Women: A Comprehensive Historical Encyclopedia.
  8. ^ a b c d east f g h i j one thousand Drohojowska-Philp, Hunter (October 17, 1999). "She Has a Way With Words" Los Angeles Times.
  9. ^ a b c d due east f 1000 Kruger, Barbara (2000). Thinking of You lot. Cumberland, Rhode Island, U.s.a.a.: Cumberland, Rhode Isle, U.S.A.: Mit Pr. pp. 27, 29–31, 112. ISBN0262112507.
  10. ^ Witzling, Mara Rose (1994). "+weequahic Voicing Today'due south Visions: Writings by Contemporary Women Artists. p. 265. Universe. ISBN 0-87663-640-vii. Retrieved March 5, 2012. "Barbara Kruger B. 1945..."
  11. ^ a b "Barbara Kruger, American (1945– )". Rhode Island Gallery. March 17, 2017.
  12. ^ "Biography – Barbara Kruger – Photograph Collage, Advertising, Slogans, Art". Barbara Kruger. Retrieved July 30, 2014.
  13. ^ "Barbara Kruger, American (1945– )". Rhode Isle Gallery. March 17, 2017.
  14. ^ a b Barbara Kruger, Untitled (When I hear the word civilization I take out my checkbook) (1985) Christie'south Evening Sale of Works from the Peter Norton Collection, 8 Nov 2011, New York.
  15. ^ a b c Bollen, Christopher (February 28, 2013). "Barbara Kruger". Interview . Retrieved March 11, 2017.
  16. ^ Read My Lips: Jenny Holzer, Barbara Kruger, Cindy Sherman, June 6 – August 9, 1998 National Gallery of Commonwealth of australia.
  17. ^ a b O'Grady, Megan (October nineteen, 2020). "Barbara Kruger Offers a Night Mirror for Our Meme-Driven Age". T. ISSN 0362-4331. Retrieved March 9, 2021.
  18. ^ Eklund, Douglas. Heilbrunn Timeline of Art History: The Pictures Generation. Metropolitan Museum of Fine art, New York.
  19. ^ Cohen, Alina (January 5, 2019). "xiii Artists Who Highlight the Ability of Words". Artsy . Retrieved May 19, 2021.
  20. ^ "Word Fine art: Text-based Painting, Prints, Sculpture". Art Encyclopedia. Visual-Arts-Cork.com. Retrieved May xix, 2021.
  21. ^ Barbara Kruger: Circus, December 15, 2010 – January 30, 2011 Archived Dec 24, 2010, at the Wayback Automobile Kunsthalle Schirn, Frankfurt.
  22. ^ Kruger, Barbara; Prince, Richard (Leap 1982). "Interview with Barbara Kruger and Richard Prince", Bomb.
  23. ^ Bollen, Christopher (February xiii, 2013). "Barbara Kruger". Interview . Retrieved July 30, 2014.
  24. ^ Barbara Kruger: Paste Upwards, Nov 21, 2009 – Jan 23, 2010, Sprüth Magers Gallery, London.
  25. ^ Hagen, Charles (June 14, 1992). "Barbara Kruger: Cover Girl". The New York Times.
  26. ^ a b Knight, Christopher (December 14, 2010). "MOCA'south mural mess". Los Angeles Times.
  27. ^ Johnson, Ken (Baronial 6, 2004). "The Hamptons, A Playground For Creativity". The New York Times.
  28. ^ Knight, Christopher (June 21, 2005). "Fueled by politics". Los Angeles Times.
  29. ^ a b Crow, Kelly (August two, 2012). "An Artist Has Her Say—All Over a Museum's Vestibule and Store". The Wall Street Periodical.
  30. ^ Blume, Howard (October 8, 2012). "Entrada launched to promote arts education in 50.A. Unified". Los Angeles Times.
  31. ^ Chow, Andrew R. (Oct 29, 2017). "MetroCards With Barbara Kruger Art Are Coming to New York City". The New York Times. ISSN 0362-4331. Retrieved September 26, 2021.
  32. ^ Silva, Horacio (2020). "Artventure". In Cunningham Cameron, Alexandra (ed.). Willi Smith: Street Couture. New York: Rizzoli Electa. p. 184. ISBN978-0-8478-6819-three.
  33. ^ Claire Selvin (August 6, 2020), Barbara Kruger's Strange, Alluring Text-Based Artworks: How the Artist Critiqued Ad and Rose to Fame ARTnews.
  34. ^ Barbara Kruger: Another, 2008 University of California, San Diego.
  35. ^ Barbara Kruger, 8 May 2008 – 11 September 2011 Moderna Museet.
  36. ^ Barbara Kruger: The Globe Shrinks, September, 3 – October 23, 2010, Sprüth Magers Gallery, Berlin.
  37. ^ "Trump the Loser, according to Kruger". The Art Paper. October 31, 2016. Retrieved October 31, 2016.
  38. ^ "Don't boycott, brand protestation art!". trumpprotestart.org. January 13, 2017. Archived from the original on March eleven, 2018. Retrieved January 13, 2017.
  39. ^ Claire Selvin (Baronial half-dozen, 2020), Barbara Kruger'due south Strange, Alluring Text-Based Artworks: How the Artist Critiqued Advert and Rose to FameARTnews.
  40. ^ Wexner Middle Residency Awards Archived May 25, 2012, at the Wayback Car Wexner Centre for the Arts.
  41. ^ Barbara Kruger to exist Wiegand Foundation Artist in Residence at Scripps Archived July 1, 2013, at the Wayback Auto Scripps College, Claremont.
  42. ^ a b Roux, Caroline (May 9, 2011). "Barbara Kruger: Slogans that shake society". The Contained.
  43. ^ Barbara Kruger, October 17, 1999 – February 13, 2000 Museum of Contemporary Fine art, Los Angeles.
  44. ^ "South Korea Kicks off Commencement Women's Biennial", Fine art+Auction, Nov 6, 2007, retrieved Apr 16, 2008
  45. ^ Consider This..., April 9, 2006 – January 15, 2007 Archived May 18, 2012, at the Wayback Car LACMA
  46. ^ Boehm, Mike (March 28, 2012). "MOCA bets on festival's star power". Los Angeles Times.
  47. ^ "Barbara Kruger: 28 June - 31 August". Mod Art Oxford.
  48. ^ "In the Tower: Barbara Kruger". www.nga.gov . Retrieved October 10, 2021.
  49. ^ "Barbara Kruger: Thinking of Yous. I Hateful Me. I Mean You lot". The Fine art Institute of Chicago . Retrieved October 10, 2021.
  50. ^ "She Has a Way With Words". Los Angeles Times. October 17, 1999. Archived from the original on January 3, 2022. Retrieved January three, 2022.
  51. ^ "Old Hollywood Lives on in Beachwood Canyon". www.yahoo.com . Retrieved January three, 2022.
  52. ^ "9th MOCA Distinguished Women in the Arts Tiffin". world wide web.moca.org . Retrieved March twenty, 2020.
  53. ^ Vogel, Ballad (June 13, 2005). "Subdued Biennale Forgoes Shock Factor". The New York Times. ISSN 0362-4331. Retrieved March 20, 2020.
  54. ^ "Barbara Kruger" Archived 2014-02-28 at the Wayback Machine Solomon R. Guggenheim Museum. Retrieved 14 April 2014.
  55. ^ Miller, Julie (October 7, 2012). "Steve Martin and Rachel Maddow Toast World-Renowned Artists at the Hammer Museum; Katy Perry Toasts Boom Art". Vanity Fair.
  56. ^ "Barbara Kruger and Catherine Opie resign from MOCA board". Los Angeles Times. July 14, 2012. Retrieved March twenty, 2020.
  57. ^ Boehm, Mike; Vankin, Deborah (March 19, 2014). "Artists return to MOCA board". Los Angeles Times.
  58. ^ "Barbara Kruger: The 100 Near Influential People of 2021". Time . Retrieved October 10, 2021.
  59. ^ Spears, Dorothy (Baronial 24, 2010). "Resurgent Agitprop in Capital Letters". The New York Times.
  60. ^ a b Solomon, Tessa (November 21, 2019). "Artist Barbara Kruger, Long Loyal to Recently Jailed Mary Boone, Heads to David Zwirner Gallery". ARTnews.
  61. ^ Deleon, Jian (May 1, 2013). "Supreme™ Courtroom: The 12 Greatest Moments of Supreme's Legal Boxing With Leah McSweeney". Complex . Retrieved March xi, 2017.
  62. ^ Kamer, Foster (May ii, 2013). "Barbara Kruger Responds to Supreme's Lawsuit: 'A Ridiculous Clusterf**yard of Totally Uncool Jokers'". Complex . Retrieved March eleven, 2017.
  63. ^ Kamer, Foster (July i, 2013). "The Battle of Supreme™ vs. Married to the Mob is Over, and This Is Why". Circuitous . Retrieved March eleven, 2017.
  64. ^ "Watch Hasan Minhaj Pivot From Streetwear Brand Supreme to Barbara Kruger, Max Veblen, and the Carlyle Group". Slate.
  65. ^ "Picturing Barbara Kruger directed past Pippa Bianco". Retrieved February 27, 2016 – via Vimeo.
  66. ^ Work titled "Pleanty" for the art initiative West of Rome in the 2008 project "Women in the Metropolis" Curated by West of Rome'due south creative director Emi Fontana.http://world wide web.womeninthecity.org/

Farther reading [edit]

  • Heyd, Milly. 1999. Common Reflections: Jews and Blacks in American Art. New Brunswick, New Jersey: Rutgers University Press. ISBN 0-8135-2618-3.
  • Hyman, Paula E., Moore, Beborah Dash. 1998. Jewish Women in America. An Historical Encyclopedia. New York, NY: Routledge. Sponsored by The American Jewish Historical Club. ISBN 0-415-91934-7.
  • Janson, H.W., Janson, Anthony F. History of Art. Harry N. Abrams, Inc., Publishers. vi edition. January i, 2005. ISBN 0-13-182895-9
  • Kruger, Barbara. 1982. "'Taking' Pictures." Screen 23 (2): ninety–96.
  • Linker, Kate. Honey For Auction: Words and Pictures of Barbara Kruger. New York: Harry N. Abrams Inc., 1996.
  • Femme brut(east), [exhibition catalogue] New London: Lyman Allyn Fine art Museum, 2006.
  • "Barbara Kruger" ACCA Education Kit. Australian Heart for Contemporary Fine art. http://www.accaonline.org.au/Avails/12/i/BarbaraKrugeredkit-i.pdf
  • Rankin, Aimee. 1987. "'Difference' and Deference." Screen 11 (2): 91–101.

External links [edit]

  • Biography, interviews, essays, artwork images and video clips from PBS series Art:21 -- Art in the 20-First Century – Season 1 (2001).
  • Barbara Kruger at the Museum of Modern Art
  • Kruger collection at the Broad Fine art Foundation

The Required Reading for This Module Features the Slogan, 'i Shop Therefore I Am'

Source: https://en.wikipedia.org/wiki/Barbara_Kruger