2007 / Silkscreen with 110 colors on paper / 28 1/2”x20” / Various: Edition of 58 + 8 AP
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“Utah Is Home To The First KFC In The Country”~
Previous September 24 posts:
2015-2016 / Watercolor on paper / 35”x47 3/4” / Bob Dylan, Halcyon Gallery
Previous March 19 posts:
1967 / Oil and silkscreen ink on canvas /45”x67 1/2” / San Francisco Museum of Modern Art
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1975 / 23 hand-colored gelatin silver prints / 20 1/2”x33 1/2” / Collection of Dorothy & Peter Waldt
Barbara Kruger ~ By Christopher Bollen ~ Published 02/28/13
Kruger’s spectacular corpus, spanning four decades, is often described as political—and it is. But just as much it creates these moments of internal identity confusion in which we don’t know if we are acting as victim, oppressor, or witness. Usually, we are all of the above.
Kruger famously—and perhaps, at first, inadvertently—got her training as an artist the hard way: through a full-time job as a magazine designer at Condé Nast, starting out at Mademoiselle. And while some of those early layout techniques of bold graphics inform her work, a pulsating visual-linguistic triple-take keeps all of her pieces so alive that she’s become known for her own immediately identifiable, authoritative style—even if authority is what is being questioned in the authoritative typeface.
Source: Barbara Kruger – Page – Interview Magazine