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Sunday 18 August 2013

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Barbara Kruger (born January 26, 1945) is an American conceptual artist. Much of her work consists of black-and-white photographs overlaid with declarative captions—in white-on-red Futura Bold Oblique or Helvetica Ultra Condensed. The phrases in her works often include pronouns such as "you", "your", "I", "we", and "they". Kruger lives and works in New York and Los Angeles.Jack Black was born on August 28, 1969, in Santa Monica, California. His breakthrough role was in High Fidelity (2000). He co-starred opposite Gwyneth Paltrow in Shallow Hal in 2001. His animated film project, Kung Fu Panda, scored big at the box office in 2008—the same year that Black appeared in the comedy Tropic Thunder. In 2009, he starred in Year One. More recently,Much of Kruger's work engages the merging of found photographs from existing sources with pithy and aggressive text that involves the viewer in the struggle for power and control that her captions speak to. She develops her ideas on a computer, later transferring the results to often billboard-sized images. In their trademark white letters against a slash of red background, some of her instantly recognizable slogans read “I shop therefore I am,” and “Your body is a battleground." Much of her text questions the viewer about feminism, consumerism, and individual autonomy and desire, although her black-and-white images are culled from the mainstream magazines that sell the very ideas she is disputing.
Kruger juxtaposes her imagery and text containing criticism of sexism and the circulation of power within cultures is a recurring motif in Kruger's work. The text in her works of the 1980s includes such phrases as "Your comfort is my silence" (1981), "You invest in the divinity of the masterpiece" (1982), and "I shop therefore I am" (1987). She has said that "I work with pictures and words because they have the ability to determine who we are and who we aren’t."[8] A larger category that threads through her work is the appropriation and alteration of existing images. The importance of appropriation art in contemporary culture lay in its ability to play with preponderant imagistic and textual conventions: to mash up meanings and create new ones. 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 Body is a battleground." In describing her use of appropriation, 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 watch them stray from or coincide with the notions of fact and fiction.
Kruger's early monochrome pre-digital works, known as ‘paste ups’, reveal the influence of the artist’s experience as a magazine editorial designer during her early career. These small scale works, the largest of which is 11 x 13 inches, are composed of altered found images, and texts either culled from the media or invented by the artist. A negative of each work was then produced and used to make enlarged versions of these initial ‘paste ups’.Between 1978 and 1979, she completed "Picture/Readings," simple photographs of modest houses alternating with panels of words.From 1992 on, Kruger designed several magazine covers, such as Ms., Esquire, Newsweek, and The New Republic.
In 1990, Kruger scandalized 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.[3] Kruger had been commissioned by MOCA to paint a mural for "A Forest of Signs: Art in the Crisis of Representation," an 1989 exhibition that also 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 the course 18 months. Only after protests the artist offered to eliminate the pledge from her mural proposal, while still 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 free to choose? Who follows orders? Who salutes longest? Who prays loudest? Who dies first? Who laughs last?".A full year after the exhibition closed, Kruger's reconfigured mural finally went up for a two-year run.

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