Kruger, Barbara - Arte conceptual
Sex / Lure, 1979
Black & white photo with acrylic frame
h: 30 x w: 40 in / h: 76.2 x w: 101.6 cm
Untitled (Not Perfect), 1980
Photograph, tape, and paint, mounted on paper board
60 x 40 inches
Guggenheim Museum, New York City
Untitled (You Construct Intricate Rituals), 1981
Photograph, gelatin silver print
101.6 x 127.32 cm (40 x 50 1/8 in.)
Museum of Fine Arts, Boston
Untitled (Your comfort is my silence), 1981
Photo work, unique piece
56 x 40 inches
Daros Exhibitions, Zurich, Switzerland
Untitled (You Invest in the Divinity of the Masterpiece), 1982
Photostat
71 3/4 x 45 5/8" (182.2 x 115.8 cm)
Museum of Modern Art, New York City
Untitled (You are not yourself), 1982
Black-and-white photograph
72 X 48 in. (182.9 X 121.9 cm)
Armand Hammer Museum of Art at UCLA, California
Untitled (We construct the chorus of missing persons), 1982
Gelatin silver prints and artist's frame
121-7/8 x 72-7/8 x 2 in. (309.6 x 185.1 x 5.1 cm)
Museum of Contemporary Art, Chicago
You Are The Perfect Crime, 1984
Black-and-white photograph
126 x 247 cm
Fonds Regional d'Art Contemporain (FRAC) Bourgogne, Dijon, France
Untitled (And), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Be), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Heard), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Longer), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (No), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Not), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Seen), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (We), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Untitled (Will), from the Untitled Portfolio, 1985
Photo-offset lithograph and serigraph on paper
20 1/2 x 20 1/2 in. (52.0 x 52.0 cm)
Smithsonian American Art Museum, Washington D.C.
Repeat after me, 1985-94
Silkscreen on vinyl
h: 250 x w: 250 cm / h: 98.4 x w: 98.4 in
Untitled (I shop therefore I am), 1987
Photographic silkscreen/vinyl
111" by 113"
Untitled, We are not what we seem, 1988
Photographic silkscreen/vinyl
278,1x243,8 cm
Private collection
Knowledge is Power, 1989
Two-color aluminum plate lithograph
36” x 35 ½”
Wake Forest University Fine Arts Gallery, Winston-Salem, North Carolina
Untitled (your body is a battleground), 1989
Photographic silkscreen on vinyl
112 x 112 inches
Broad Art Foundation
Who Salutes Longest?, 1989
Photoengraving on magnesium in artist designed frame
25.5" x 21.5"
I shop therefore I am, 1990
Photolithograph on paper shopping bag, composition
12 3/8 x 9 13/16" (31.5 x 25 cm)
The Museum of Modern Art, New York City
Untitled (You can't drag your money into the grave with you), 1990
Photographic silkscreen/vinyl
109" x 153"
Untitled (It's a small world but not if you have to clean it), 1990
Photographic silkscreen on vinyl
143 x 103 in. (363.2 x 261.6 cm)
The Museum of Contemporary Art, Los Angeles
Untitled (It's our pleasure to disgust you), 1991
Photographic silkscreen on vinyl
90 x 126 in. (228.6 x 320 cm)
The Museum of Contemporary Art, Los Angeles
"Barbara Kruger" Installation, 1991
Mary Boone Gallery
Rage + Women = Power, cover for Ms. magazine. January/February 1992
Photolithograph, composition and sheet
10 3/4 x 8 3/8" (27.4 x 21.3 cm)
The Museum of Modern Art, New York City
Untitled (Not cruel enough), 1997
Photographic silkscreen on vinyl
109 x 109 in. (276.9 x 276.9 cm)
The Museum of Contemporary Art, Los Angeles
Super rich/Ultra gorgeous/ Extra skinny/ Forever young, 1997
Photographic silkscreen/vinyl
213.36 x 236.22 cm, 84 x 93 in
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Untitled”(Failing Upward, 2000/2004
photograph
30” by 21”
Untitled (Seeing through you), 2004
Photolithograph, composition and sheet
h: 60 x w: 72 in / h: 152.4 x w: 182.9 cm
Untitled (Taste), 2005
Photograph
20 x 12 inches
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No trabalho "Untitled, We are not what we seem, 1988", de grandes dimensões, vista isoladamente, a secção do lado esquerdo desta obra assemelha-se a um retrato de uma modelo elegante dos anos 50. à medida que olhamos para a direita, somos surpreendidos pela imagem constratante da mesma mulher a inserir uma enorme lente de contacto no olho. A princípio, as palavras inseridas a intervalos iguais no centro da composição distraem a nossa atenção. A simples justaposição das palavras e da imagem lembra o design comercial, reflectindo o passado de Kruger como directora artística de uma revista feminina. Através da técnica da montagem, ela corta ou amplia imagens encontradas, que são sobrecarregadas de afirmações atacando a opressão, a hipocrisia e a estrutura do poder pela qual os homens assumem o controlo, Kruger exerceu forte influência sobre a arte e a teoria feministas. Ao trabalhar na "arena públuca" - placares, T-shirts e livros - e ao utilizar um estilo familiar, Kryger garante a fácil acessibilidade das suas mensagens, aumentando a sua eficácia como comentadora social e agitadora política. Barbara Kruger nasceu em Newark, NJ (EUA) em 1945.
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Barbara Kruger was born on January 26, 1945, in Newark, New Jersey. She spent a year at Syracuse University in 1964 and a semester at Parsons School of Design in New York in 1965, where she studied with Diane Arbus and graphic designer Marvin Israel. In 1966, she took a job with Condé Nast, working in the design department of Mademoiselle. She was named that magazine’s head designer a year later. For the next decade, Kruger supported herself doing graphic design for magazines, book jacket designs, and freelance picture editing. In the late 1960s, she also developed an interest in poetry, attending readings and writing. Kruger’s earliest artworks date to 1969. Large woven wall hangings of yarn, beads, sequins, feathers, and ribbons, they exemplify the feminist recuperation of craft during this period. Despite her inclusion in the Whitney Biennial in 1973 and solo exhibitions at Artists Space and Fischbach Gallery, both in New York, the following two years, she was dissatisfied with her output and its detachment from her growing social and political concerns. In the fall of 1976, Kruger abandoned art making and moved to Berkeley, California, where she taught at the University of California for four years and steeped herself in the writings of Walter Benjamin and Roland Barthes. She took up photography in 1977, producing a series of black-and-white details of architectural exteriors paired with her own textual ruminations on the lives of those living inside. Published as an artist’s book, Picture/Readings (1979) foreshadows the aesthetic vocabulary Kruger developed in her mature work. By 1979, Kruger stopped taking photographs and began to employ found images in her art, mostly from mid-century American print-media sources, with words collaged directly over them. Untitled (Perfect) (1980) portrays the torso of a woman, hands clasped in prayer, evoking the Virgin Mary, the embodiment of submissive femininity; the word “perfect” is emblazoned along the lower edge of the image. These early collages, in which Kruger deployed techniques she had perfected as a graphic designer, inaugurated the artist’s ongoing political, social, and especially feminist provocations and commentaries on religion, sexuality, racial and gender stereotypes, consumerism, corporate greed, and power. During the early 1980s, Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars. The inclusion of personal pronouns in works like Untitled (Your Gaze Hits the Side of My Face) (1981) and Untitled (I Shop Therefore I Am) (1987) implicates viewers by confounding any clear notion of who is speaking. These rigorously composed mature works function successfully on any scale. Their wide distribution—under the artist’s supervision—in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, confuses the boundaries between art and commerce and calls attention to the role of the advertising in public debate. In recent years, Kruger has extended her aesthetic project, creating public installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer. Since the late 1990s, Kruger has incorporated sculpture into her ongoing critique of modern American culture. Justice (1997), in white-painted fiberglass, depicts J. Edgar Hoover and Roy Cohn—two right-wing public figures who hid their homosexuality—in partial drag, kissing one another. In this kitsch send-up of commemorative statuary, Kruger highlights the conspiracy of silence that enabled these two men to accrue social and political power. Major solo exhibitions of Kruger’s work have been organized by the Institute of Contemporary Arts in London (1983), Museum of Contemporary Art in Los Angeles (1999), and Palazzo delle Papesse Centro Arte Contemporanea in Siena (2002). She represented the United States at the Venice Biennale in 1982. Kruger lives and works in New York and Los Angeles.
Guggenheim Collection - Kruger Biography
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on Sábado, Abril 14, 2007 at 9:18 PM.
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5:39 PMGosto muito do trabalho de Kruger.
A ponto de ela ter inspirado o tema da minha monografia no curso de Artes: "A arte como transgressora da publicidade". Parabéns pelo fantástico post.
6:08 PM
Ao contário acima, gostaria de poder ler sua monografia, se possivel. Estou fazendo uma pesquisa sobre sociedade de consumo - como a mídia interfere na persona identidade. vou deixar meu e-mail para podermos ter contato : valokuvaus_xubaca@hotmail.com, obrigada.
11:14 AM
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