The mass media artist has actually been refashioning our idioms into sharp-edged cultural critiques for three decades—and currently brings her job-related to the Hirshhorn

Barbara Kruger photographed in her new York studio. (Chester Higgins Jr. / The new York time / Redux)

Barbara Kruger is heading to Washington bearing the solitary word that has the strength to shower the seat of federal government to its roots and cleave that is sclerotic, deep-frozen deadlock.

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one of Barbara Kruger’s most famed works renders a spicy critique the our consumer culture. (Boris Roessler / DPA / Corbis)
Kruger has actually the an enig word to open the gridlock of Washington’s the opposite certainties. (Belief + Doubt = Sanity, 2008, © Barbara Kruger, Courtesy Sprüth Magers Berlin London)
“What big muscles girlfriend have!”, 1986. Self-adhesive strips and "letraset" top top acrylic panel. (CNAC / MNAM / Dist. Réunion des Musées Nationaux / art Resource, NY, © Barbara Kruger / Courtesy of mary Boone Gallery, new York)
“Untitled (Shafted)”, 2008. This digital print wall surface installation by Barbara Kruger was commissioned by the Los Angeles ar Museum of arts for the opened of the Broad modern Art Museum. (Digital image © 2012 Museum Associates / LACMA. License is granted by arts Resource, NY, © Barbara Kruger / Courtesy of mar Boone Gallery, new York)
In august 2012, Barbara Kruger’s “Belief+Doubt” (conceptual rendering presented here) will certainly be on view on the lower level of the Smithsonian’s Hirshhorn Museum. (Courtesy the the Hirshhorn Museum)
“Between being Born and also Dying” by Barbara Kruger to be on see at the Lever residence Art repertoire in new York City in 2009. (Chip eastern / Bloomberg / Getty Images)
“Untitled (Your Glutton for Punishment is top top a Diet)” by Barbara Kruger . (Christie"s photos / Corbis)

What is the word? Well, first let me present Barbara Kruger. If you don’t understand her name, you’ve probably seen her work in art galleries, on magazine covers or in large installations the cover walls, billboards, buildings, buses, trains and also tram lines almost everywhere the world. Her new installation at the Hirshhorn Museum in Washington, D.C., booked to open up August 20—the one that concentrates on that powerful, power-zapping word (yes, I will certainly tell you what the is)—will be clearly shows from two floors of public space, pour it until it is full the whole lower lobby area, likewise covering the sides and undersides of the escalators. And also when ns say floors, I mean that literally. Visitors will to walk upon her words, be surrounded by walls of her words, journey on escalators covered with her words.

What’s the best way to explain her work? You recognize abstract expressionism, right? Well, think of Kruger’s art as “extract expressionism.” She takes images from the fixed media and also pastes words end them, big, bold extracts that text—aphorisms, questions, slogans. Quick machine-gun to explode of words that as soon as isolated, and framed by Kruger’s gaze, linger in your mind, forcing you to think twice, thrice around clichés and catchphrases, introducing ironies into social idioms and also the standard wisdom lock embed in our brains.

A woman’s face in a mirror shattered through a bullet hole, a winter on i beg your pardon the expression “You space not yourself” is superimposed to destabilize us, at least momentarily. (Not myself! who am I?) she aphorisms variety from the overtly politics (Your body is a battleground) to the culturally acidic (Charisma is the perfume of your gods) to the challengingly metaphysical (Who carry out you think friend are?).

Kruger prospered up middle class in Newark, new Jersey, and also her very first job was as a page designer at Mademoiselle. She turned out to be a grasp at using form seductively come frame and also foreground the image and lure the leader to the text.

The dream-machine magazine realm of Condé Nast (which also publishes Vogue, Vanity Fair and also Glamour)—the dizzyingly seductive and powerful blend of fashion, class, money, image and status—represented both an inspiration and one inviting target. The fantasy-fueled appetite come consume came to be Kruger’s enduring subject when she left for the downtown art world, where numerous of her early on pieces to be formal linguistic defacements the glossy newspaper pages, glamorous graffiti. One of her most famed works proclaimed, “I shop therefore I am.”

Kruger keeps she finger tightly pressed come the pulse of popular culture. So that shouldn’t have actually surprised me as much as the did when, in the middle of a current lunch at the Los Angeles county Museum that Art, she nearly leapt out of she chair and also pointed excitedly to someone on the plaza outside. “It’s the barber from Bravo!” she exclaimed excitedly. Once I professed ignorance, Kruger explained, “She’s ~ above this Bravo reality collection where she goes right into failing hair salons and also fixes lock up.” (I later on learned the mrs was Tabatha, indigenous a present called “Tabatha takes Over.”)

In addition to gift a self-proclaimed “news junkie” and also bookmarking the Guardian and also other such significant sites, Kruger is a big student of truth shows, she told me. Which renders sense in a way: Her job-related is all about skewed depictions of reality. Just how we pose as ourselves. She discoursed knowingly around current patterns in reality shows, including the “preppers” (preparing for the apocalypse) and also the storage wars and the hoarder shows. Those shows, she thinks, phone call us essential things about value, materialism and consumerism.

Kruger has immersed herself in such abstruse thinkers together Walter Benjamin, the prewar post-modernist (“Did you understand he to be a compulsive shopper? review his Moscow Diary!”), and also Pierre Bourdieu, the prominent postmodern French pundit responsible for the concept of “cultural capital” (the idea that status, “prestige” and also media recognition count as much as money when it comes to assessing power). Yet she knows concept is not enough. She needs to wade into the muddy river of American culture, panning because that iconic words and images favor a miner looking for gold in a fast-running stream, extracting the nuggets and also giving them a setup and a polishing so they can serve as our mirror.

Christopher Ricks, a previous Oxford professor that poetry, as soon as told me the simplest way to recognize value in art: the is “that which continues to repay attention.” and also Barbara Kruger’s native not only repay however demand attention from us. She work has become more relevant than ever before at a time once we room inundated by indigenous in a dizzying, delirious way—by the torrent, the tidal wave, the tsunami unleashed through the Internet. “What do you read, mine lord?” Polonius asks Hamlet. “Words, words, words,” that replies. Meaningless words. And that is what they threaten to become as us drown in oceans of text on the web. Pixels, pixels, pixels.

In a online world, virtual words are becoming virtually weightless, dematerialized. The an ext words to wash over us, the much less we know them. And the much less we are able to identify which persons are influencing us—manipulating us subtly, invisibly, insidiously. Barbara Kruger rematerializes words, so that we can read castle closely, deeply.

I arrived early on for our having lunch at LACMA since I wanted to view the environment she’d excellent there, spanning a huge three-story glassed-in garage elevator with an especially profusion the words and also phrases. Amongst these words and phrases is a long, eloquent description of the occupational itself:

“The work is about...audience and also the scrutiny of and the imperialism of garments, community and the discourse the self-esteem, witnessing and the anointed moment, spectacle and the sheathe viewer, narrative and the gathering of incidents, simultaneity and the elusive now, digitals and the sirloin of the capture.” There’s much, much an ext just in instance we miss any aspect of what “the work is about.” undoubtedly the work-related is in part about a work telling itself what it’s about.

Notice exactly how much of the is about extraction: exploit of “the anointed moment” native the present of time (and present of consciousness), finding a method to crystallize the “elusive now” between the sirloin of “digitals.” It’s the Kruger of all Krugers.

But gazing at this, i missed the solitary most necessary extraction—or at least its origin. The elephant in the installation.

It was up there, dominating the height of the work, a line written in the biggest, boldest, baddest letters. The central stack of indigenous is superimposed over the brooding eyes and the advancing shoes of a guy in what looks choose a black-and-white movie still. His head is exploding into what looks choose a blank white mushroom cloud, and also on the cloud is written: “If you desire a snapshot of the future, imagine a boots stomping ~ above a human challenge forever.”

Have a nice day, museumgoers!

Not long after, ns was seated in LACMA’s sleek restaurant with Kruger, who waterfalls of fragile curls provide her a pre-Raphaelite, Laurel Canyon look. (She lives half the year in L.A. To teach at UCLA, fifty percent the year in brand-new York City.) among the very first things i asked around was the boot-stomping heat on the elevator installation. “I to be glad to watch someone as downhearted as me about the future. Where’d you gain that quote?”

“It’s George Orwell,” she replied.  Orwell, the course! It’s been a lengthy time because I’ve read 1984, for this reason I’m thankful that she extract it, this unmediated prophecy of death from someone who pronouncements have, uncannily and also tragically, preserved coming true. And it reminded me the she shares with Orwell one oracular mode of thought—and a preoccupation v language. Orwell developed Newspeak, native refashioned to become lies. Kruger functions similarly, however in the contrary direction. Truespeak? Kru-speak?

“Unfortunately,” she go on to remark ominously that the Orwell quote, “it’s still very viable.”

For some, Kruger has had actually a forbidding aura, which is probably because of the stringent feminist content of some of her an ext agitprop aphorisms, such as “Your body is a battleground,” which features a woman’s challenge made right into a grotesque-looking mask through slicing it in half and calculation one side as a negative. When I later told civilization I’d discovered Kruger down-to-earth, humorous and even kindly, those that knew her conveniently agreed, those who knew just her early work to be a little surprised.

But she’s do a suggest of being an ext than one ideologue. “I always say I try to do my work about how we are to one another,” she said me.

That reminded me of one of her works in which the word “empathy” stood out.

“‘How we are to every other,’” i asked. “Is that exactly how you specify empathy?”

“Oh,” she responded with a laugh, “well, too regularly it’s no .”

“But ideally...we’re empathetic?”

“No,” she said, “I don’t recognize if that’s been wired right into us. However I average I’ve never ever been involved with the battle of the sexes. It’s as well binary. The an excellent versus the bad. Who’s the good?”

It’s a expression she uses often: “too binary.” She’d rather work-related in multiple shades of definition and the ironies that undercut them.

All of i beg your pardon brings united state to she upcoming installation intrusion of Washington and that potent, verboten word she wants to bring to Washington’s attention. The magic word with the an enig power that is like garlic come Dracula in a town complete of partisans. The word is “DOUBT.”

“I’d only remained in Washington a couple of times, mainly for antiwar marches and pro-choice rallies,” she said. “But I’m interested in notions that power and control and also love and money and also death and pleasure and also pain. And Richard want me to practice candor there is no trying to be ridiculously...I think I periodically see points that space provocative for provocations’ sake.” (A rare join for one artist—self-doubt.) “So I’m looking forward to bringing increase these concerns of belief, power and doubt.”

The main title she’s provided her surroundings is Belief+Doubt. In an earlier work (pictured below), she had actually used the phrase Belief+Doubt=Sanity.

I asked she what had happened come “sanity.” had actually she provided up on it?

“You deserve to say ‘clarity,’ you deserve to say ‘wisdom,’” she replied, but if you look in ~ the equation closely, including doubt to belief is actually subtracting something indigenous belief: blind certainty.

The conversation about doubt turned come agnosticism, the ultimate doubt.

She made clean there’s vital distinction between being an atheist and also being an agnostic, together she is: Atheists don’t doubt! “Atheists have actually the ferociousness the true believers—which kind of undermines their position!” she said.

 “In this country,” she added, “it’s easier to be a pedophile than an agnostic.”

Both sides—believer and also atheist—depend top top certainty to organize themselves together. A dynamic that additionally might describe the dead end in national politics in Washington: both sides refusing to admit the little doubt around their position, about their values, about the insurance claim to have actually all the answers.

“Whose values?” is the Kruger exploit at the an extremely summit of she Hirshhorn installation—and its many subversive question. With the lack of doubt, every side clings come its values, devaluing the other side’s values, making any kind of cooperation an act of betrayal.

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“Everybody provides this values claim,” she pointed out, “that their values room the only values. Doubt is almost grounds because that arrest—and we’re quiet perilously close to that in many ways, you know.”

And so in its means the Hirshhorn installation may turn the end to it is in genuinely subversive. Presenting doubt right into polarized D.C. Political society could be favor letting loosened a mutation that the swine flu virus.