A Quote by Barbara Kruger

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed. — © Barbara Kruger
I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.
Well, any time you're faced with fame on that level, it's - it can be somewhat unnerving because you're never taught how to manage it and how to deal with it. So you're sort of left out there on your own, trying to navigate those waters for yourself.
I was trying to develop a completely new, nonvoyeuristic approach to the female body as something other than a visual object. I wanted to find out what happened when you leave behind the voyeuristic mode and confront people with reality. But that's what was so interesting for me to discover: People don't want to see reality. It's a pretty simple idea, really, this question of how we deal with reality. When something is constructed, when it's projected onto a screen, it's acceptable, but it's different when it's there in front of you in a public space.
I think, in a lot of ways, we underestimate how much clothing plays a part in achieving our identities and in how we want the world to deal with us.
Cinema is consistently making a claim to particular memories, histories, ways of life, identities, and values that always presuppose some notion of difference, community, and the future. Given that films both reflect and shape public culture, they cannot be defined exclusively through a notion of artistic freedom and autonomy that removes them from any form of critical accountability.
It is not necessary for the politician to be the slave of the public's group prejudices, if he can learn how to mold the mind of the voters in conformity with his own ideas of public welfare and public service. The important thing for the statesman of our age is not so much to know how to please the public, but to know how to sway the public. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.
One of the reasons I got into acting to begin with is that I was trying to figure out how life worked. It was interesting to me to try and follow how other people, real or imaginary, would deal with problems, because I was trying to deal with my own problems.
Children and other Americans with limited or non-existent credit histories are particularly vulnerable to having the SSNs misused for synthetic identities.
When you become sufficiently expert in the state of the art, you stop picking ideas at random. You are thoughtful in how to select ideas and how to combine ideas. You are thoughtful about when you should be generating many ideas versus pruning down ideas.
In opening we can see how many times we have mistaken small identities and fearful beliefs for our true nature and how limiting this is. We can touch with great compassion the pain from the contracted identities that we and others have created in the world.
I'm still very careless about my public persona. Not careless so to speak but I'm not one for fame. I think fame is the worst part about it.
American histories were the same; they had these mad ideas about how Parliament worked, or what people really meant when they said A, B, or C. All my life, I felt simultaneously deracinated and rooted in both places, and now it's my greatest strength: I'm culturally bilingual.
Those of us who submitted or surrendered our ideas and dreams and identities to the 'leaders' must take back our rights, our identities, our responsibilities.
When it comes to working on identities, a lot of the time I find myself working with a company that has been around for a while. No matter what they say their goal is, the history and the impression that they have already made in the minds of the public is a real thing that you have to deal with.
I always found it interesting when you went off to college, people would talk about how you go and search for your own identity. A lot of suburban middle-class kids would be shopping for identities and they would co-opt identities from other cultures.
I think, to me, the sheer joy of fancy dress is that it allows you to take a break from our very carefully considered and constructed identities.
Fame is often called a deal with the devil. Reality show fame is a really bad deal with the devil.
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