The razor-sharp, witty and unmistakable work of Barbara Kruger explores the power of image and word and touches on the dynamics of control, class, corruption and consumerism.
For over four decades, her voice and aesthetic have transcended the insularity of the art world and influenced everyday visual culture. The artist’s most recent text-based wall work and series of vinyls are set in dialogue with a group of ‘paste-ups’—collages from the 1980s related to some of her early and best-known works.
In a compelling voice, large-scale digital prints on vinyl such as Untitled (A thing called me) and Untitled (A thing called you) continue Kruger’s frequent use of pronouns: assuming a speaker and suggesting a recipient, the text aligns the viewer with the work.
In a compelling voice, large-scale digital prints on vinyl such as Untitled (A thing called me) and Untitled (A thing called you) continue Kruger’s frequent use of pronouns: assuming a speaker and suggesting a recipient, the text aligns the viewer with the work.
Unlike the other six stretched works, the adjacent Untitled (End of world) is a vinyl wallpaper. Covering an entire wall, its expansive scale confronts viewers with their own positions and feelings.
Untitled (Being and nothingness), which quotes the title of Jean-Paul Sartre’s 1943 seminal work on existentialism, consciousness and freedom, meets the gigantic words of Untitled (Winner loser) that connect to the world’s ongoing cycle of war, power abuse, brutality and subjugation.
Kruger’s new textual wall works (all 2024) grapple with our current dystopian reality.
Kruger’s new textual wall works (all 2024) grapple with our current dystopian reality.
The stark works activate the space and address the viewer with their bold statements, white on black, that play with the seductive visual effects of three-dimensionality.
The stark works activate the space and address the viewer with their bold statements, white on black, that play with the seductive visual effects of three-dimensionality.
The show’s works exemplify Kruger’s ability to consistently question how we reveal ourselves to one another and to the cultures that construct and contain us.
On the gallery’s first floor, fourteen of Kruger’s famed paste-ups are on display. Money and its corruptible power, a dominant leitmotif in her oeuvre, manifests itself throughout the present selection.
As so often, her clever combination of image and text allows for a myriad of possible readings that address and engage our hopes, desires, fears and values.