”I absolutely define myself as a feminist.” via Dazed
, “She was the first female role model I had that didn’t wash the kitchen floor six times a day.” After college, Kruger was taken on as a designer at Condé Nast Publications, where she excelled in the role and was awarded the head designer that following year. Despite her early success, working to someone else’s brief was too much of a compromise."I basically wasn't cut out for design work,” she said. “Because I had difficulty in supplying someone else’s image of perfection.
Kruger eventually moved on to working as a picture editor for various publications and, during this time, began writing poetry and attending poetry readings . She also began making art. Her experiments saw her crocheting erotic objects and creating wall hangings from various materials including yams, feathers, and sequins.
Kruger's work as a designer provided her with a wealth of transferable skills. “Everything was cut and paste and I would do a page design involving type and sometimes images. My job as a designer morphed into my work as an artist, with big differences in the level of meaning.“ She told. “When I first started making this series of works, they were done as paste-ups similar to what I would do at the magazine.
Kruger’s graphic design background also primed her in the art of engaging immediately with the viewer. “One thing I learned working at magazines was that if you couldn’t get people to look at a page or a cover, then you were fired,” she recalled. “It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.” She understood, even before the advent of social media, that people had so little capacity to focus.
“Untitled” phrase “I can’t look at you… and breathe at the same time” obscuring her eyes and mouth. “L'empathie peut changer le monde” , installed on a train station platform in Strasbourg in France, reminds train users, “Empathy can change the world.” The iconic “Untitled ” is a vast mural on the side of the the Geffen Contemporary at Museum of Contemporary Art in LA, posing a series of questions thatdescribed as “both oblique and direct”.
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