Barbara Kruger. Thinking of You lot. I Mean Me. I Mean Y'all., 2019. Digital image courtesy of the creative person.
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Regenstein Hall, Griffin Court, and diverse museum locations
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Regenstein Hall, Griffin Court, and various museum locations
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For more than than 40 years, American artist Barbara Kruger has been a consistent, critical observer of the ways that images broadcast through our civilization.
Untitled (Forever), 2017
Courtesy of the artist. Photo past Timo Ohler and courtesy of Sprüth Magers
Combining images with provocative text, Kruger uses straight address—along with humor, vigilance, and empathy—to expose and undermine the power dynamics of identity, desire, and consumerism. As shrinking attention spans collide with the voyeurism and narcissism that ascertain contemporary life, her immersive installations and widely circulated pictures and words invite us to reconsider how we relate to i another.
Untitled (Truth), 2013
Digital paradigm courtesy of the creative person
THINKING OF YOU. I Hateful ME. I Hateful You lot. encompasses the full breadth of her career—from early and rarely seen "pasteups" (works that use an analog technique for physically arranging a page's contents with manual "cut and paste") to digital productions of the last 2 decades. The presentation includes works on vinyl, site-specific installations, animations, and multichannel video installations.
The exhibition is not, however, a retrospective. Challenging notions of career building and a strict chronology, Kruger has reenvisioned the retrospective itself by rethinking, remaking, and replaying her work over the decades for the constantly moving present.
Artist's rendering of exhibition entryway at the Fine art Establish of Chicago, 2011/2020
Courtesy of the artist
The exhibition at the Art Plant—collaboratively designed with the artist—interrogates the specific cultural context of our museum, equally information technology transcends the traditional exhibition space and extends into the museum's public spaces and the city beyond. Kruger'southward work non only fills the entirety of the museum's largest exhibition infinite, the 18,000 square-human foot Regenstein Hall, merely also occupies Griffin Court—an viii,000-square-foot atrium running the length of the Modern Wing—with new site-specific work. Kruger'south text and images address both the architecture and relational spaces throughout the museum—from the windows in the celebrated Michigan Avenue building and the Modern Fly to various public spaces, some of which will also feature an ambient soundscape. Kruger volition additionally engage the surrounding cityscape, creating piece of work for billboards, the Chicago Transit Authority, and Art on theMART, amidst other locations and organizations.
Exhibition Guide
Download this map of the museum to see the various locations Kruger's work tin be found.
ACCESSIBILITY OFFERINGS
Visual descriptions of works included in the exhibition can be plant below. Press the play push to hear the audio, or click on the folio icon for the transcription.
Please also notation that some artworks in the exhibition characteristic flashing lights and spaces that may be experienced as loftier sensory.
Regenstein Hall
Regenstein Hall is the main space for this exhibition.
Unless noted otherwise, all blazon in Kruger's artwork is Futura Bold, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus design manner of the period.
Kruger's signature exhibition graphic greets you on both the north and south walls outside the Regenstein Hall galleries. The square image consists of 3 horizontal rectangles in blackness, white, and blackness and the championship THINKING OF YOU. I MEAN ME. I MEAN YOU., divided in three parts and opposing colors of each space. Green Ten's cantankerous out the first YOU and ME. The following title wall text reads beneath:
For more than 40 years, Barbara Kruger (American, b. 1945) has been a consequent, critical observer of the ways that images circulate through civilisation. Overlaying images and iconography from mass-media photographs with provocative language, the artist uses directly accost to undermine and expose the power dynamics of identity, desire, and consumer habits. As shrinking attention spans collide with the voyeurism and narcissism that define contemporary life, her immersive installations and widely circulated pictures and words are imbued with humor, vigilance, and empathy—inviting us to reconsider how we chronicle to one another.
THINKING OF YOU. I Mean ME. I MEAN YOU. (lines cross out the first "You" and "ME") encompasses the total breadth of Kruger'southward career—from early and rarely seen "pasteups" (created with an analog technique she learned as a magazine designer) to digital productions of the final two decades—and includes works on vinyl, site-specific installations, animations, and multichannel video installations. The exhibition is not, however, a retrospective. Challenging notions of career building and a strict chronology, Kruger has reenvisioned the retrospective itself by rethinking, remaking, and replaying her work in the present. Designed in close collaboration with the artist, the exhibition interrogates the specific cultural context of the Art Institute of Chicago equally her work transcends the exhibition galleries, occupying the museum's public spaces and the city beyond.
Unless noted otherwise, all blazon in Kruger's artwork is Futura Assuming, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus pattern style of the menstruum.
The entrance to the exhibition is framed past ii columns wrapped with a white-to-carmine slope vinyl with the artist's proper noun running from superlative to lesser. The column on the left reads "BARBARA" and the right cavalcade reads "KRUGER." Both feature white blazon gear up confronting a scarlet gradient background. Between the columns and thirty anxiety further into the Narthex gallery is an 11-foot-tall freestanding LED wall. It plays a video that features a gray mitt holding a red placard with white text that reads, I SHOP therefore I AM. The other three sides of this freestanding wall are wrapped in printed vinyl wallpaper. The narrow left side of the wall reads "Need IT," and the narrow right side reads, "Want IT," both in white, vertical text running superlative to bottom against a white-to-carmine gradient background. The contrary side of the wall repeats the paradigm of the gray paw, this fourth dimension holding a placard covered in a grid of images found online of people wearing Kruger style T-shirts. The same gray hand repeats forth the length of the Narthex walls, three times on both sides of the long, narrow arcade that leads to the main galleries of the exhibition. The half dozen easily hold placards featuring Google-sourced images that resemble the creative person'south style simply are non her own works.
Unless noted otherwise, all type in Kruger'due south artwork is Futura Bold, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus design style of the catamenia.
From the Narthex the you enter Untitled (Forever), a fully immersive installation where Kruger's black-and-white text wraps all four walls and flooring. This room is 70 feet wide and 30 feet deep.
Upon entering this room, the wall to the left depicts a magnifying glass that enlarges and distorts a text. The discussion "YOU" fills over half of the circular magnifying glass and the remaining text reads, YOU ARE Hither, LOOKING THROUGH THE LOOKING Drinking glass, DARKLY. SEEING THE UNSEEN, THE INVISIBLE, THE BARLEY In that location. Yous. WHOEVER YOU ARE. WHEREVER YOU ARE. ETCHED IN MEMORY. UNTIL YOU, THE LOOKER, IS GONE. UNSEEN. NO MORE. YOU TOO. Westward Wall: Upon entering this room, the wall to the right depicts a magnifying glass that enlarges and distorts a text. The word "YOU" fills over half of the circular magnifying glass, and the post-obit quote by Virginia Woolf reads, YOU KNOW THAT WOMEN HAVE SERVED ALL THESE CENTURIES As LOOKING GLASSES POSSESSING THE MAGIC AND Succulent POWER OF REFLECTING THE FIGURE OF A Man AT TWICE ITS NATURAL SIZE. Southward wall: Upon entering this room, the wall opposite yous features horizontal bands that span the long wall, alternating white blazon on a black background and black type on a white background. The text reads, WAR Time, WAR Law-breaking, WAR GAME, GANG WAR, CIVIL WAR, HOLY WAR, CLASS WAR, BIDDING War, Merchandise War, Common cold WAR, RACE WAR, WORLD WAR, War FOR PEACE, WAR WITHOUT Finish, State of war FOR A WORLD WITHOUT WOMEN, WAR FOR ME TO BECOME YOU.
North wall: Upon inbound this room, the long wall behind you lot features horizontal bands of alternating white type on a black background and black type on a white background. The text reads, IN THE END, SOMETHING ELSE BEGINS, IN THE END, You lot'VE HAD YOUR CHANCE, IN THE END, YOU WIN OR Y'all Tin LOSE, IN THE END, HISTORY HAPPENS, IN THE END, Zilch MATTERS, IN THE END, ALL IS FOR GOTTEN, IN THE Terminate, ALL IS FOR GIVEN, IN THE Terminate, ALL LIES FOREVER Rule, IN THE END, ALL HOPE IS LOST, IN THE END, ALL ANGER NEVER FADES, IN THE END, ALL WILL Hateful Null, IN THE END, ALL WILL DISAPPEAR.
5 doors are spaced along this long wall: 3 in the middle that lead from the Narthex gallery and 2 that lead into the projection galleries on either side. This vinyl covers the unabridged wall, and the doors dissever up the last iii words of the lower bands in such a way that no messages are lost. Floor: Horizontal bands alternating white blazon on a black background and black type on a white groundwork characteristic this quote by George Orwell: IF Yous WANT A Picture show OF THE FUTURE, IMAGINE A BOOK STAMPING ON A HUMAN Face, FOREVER.
The walls of this gallery are hung salon style with twenty-three blackness-and-white and two color photographs with white mats and black frames. The photographs vary in size—from 4 ½ past 3 ⅞ inches to 20 by 23 ¾ inches—and fourth dimension period, from 1905 to 2003. These are works in the Fine art Institute'southward collection by other artists. A white freestanding wall in the centre of the room features black sentence-instance text in a serif font that differs from the surrounding galleries. The front end and dorsum of the wall reads, from meridian to lesser:
Picturing "Greatness" The pictures that line the walls of this room are photographs of famous artists. Though many of these images exude a kind of well-tailored gentility, others feature the artist as a star-crossed Houdini with a beret on, a kooky middleman between God and the public. Vibrating with inspiration, even so impeccably well behaved, visceral nevertheless oozing with all manner of refinement, nearly all are male person and nearly all are white. These images of artistic "greatness" are from the collection of this museum. Only as this gathering suggests, we are finally seeing the incremental inclusion of women and people of colour into the mix: a reflection of the various races, genders, and"
(Here the text breaks after "and," which is followed by an arrow pointing to the left. The sentence continues on the reverse side of the wall at the top.)
classes that ascertain themselves every bit artists. As we tend to become who we are through a dumbo crush of allowances and denials, inclusions and absences, we tin begin to see how approving is accorded through the languages of "greatness", that heady brew concocted with a piece of visual pleasure, a pinch of connoisseurship, a mention of myth, and a dollop of coin. Merely these images can besides suggest how we are seduced into the globe of appearances, into a pose of who we are and who we aren't. They can bear witness usa how vocation is ambushed by cliché and snapped into stereotype by the photographic camera, and how photography freezes moments, creates prominence and makes history. —Barbara Kruger
Unless noted otherwise, all type in Kruger's artwork is Futura Assuming, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus design style of the menses.
The exhibition includes four projection spaces located at each corner of Regenstein Hall. Untitled (Artforum) and Untitled (The work is about …) are located near the entrance and exit of the exhibition, respectively. The Globe Shrinks and Untitled (No Comment) are located at contrary ends of the exhibition space.
Untitled (Artforum) is a two-channel video project without sound that animates Kruger's collaboration for the summer 2016 cover of Artforum. In it she annotates then editor Michelle Kuo's brief for the result, which focused on art and identity. The work projects onto two adjoined walls, suggesting an open book. Black serif type on a white background fills the projection space on the left and and so right wall, and so Kruger's edits appear in sans-serif crimson type along the margins of each simulated folio.
Untitled (The work is about …) is a single-aqueduct projection with no sound. The video is projected floor to ceiling and wall to wall and features a scrolling listing of descriptors in white type relating to fine art practices. The line "The work is about" repeats in ruddy throughout.
The Globe Shrinks is a 12-infinitesimal-and-43-second four-channel video installation with sound that fills the gallery walls from border to edge. The work juxtaposes cultural theorist Homi 1000. Bhabha's declaration that "the earth shrinks for those who ain it" with vignettes projected on iv walls, including video of a stand up-up comedian, a route-rage incident, prayer gatherings, and written quips including "SHOVE It," "DOUBT IT," and "BELIEVE Information technology." The installation oscillates between opposing projections, utilizing shot/reverse shot editing and episodic scenarios that punctuate both alive action and discussion interplay on the diverse screens. Benches designed by the artist are placed in the middle and corners of the infinite.
Untitled (No Comment) is a 9-and-a-half-minute video with sound. The installation comprises a flooring-to-ceiling unmarried-aqueduct projection that runs for vii minutes and two other screens that are activated for xvi seconds of the video. Every bit the piece of work unfolds it mimics the path of someone frantically surfing the web, presenting clips of things such equally scrolling blazon ready to a soundtrack of various spoken language patterns and a true cat lip-synching the powerful hook of the Lady Gaga song "Shallow," as well as photos of polarizing political figures. Likewise included are texts and images from past and nowadays works by Kruger, many of which chronicle to pieces included in the exhibition, as well as Instagram posts of people posing in front of her piece of work.
Unless noted otherwise, all type in Kruger'south artwork is Futura Bold, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus design style of the period.
This section presents a serial of new work Kruger produced on the occasion of this exhibition. The artist refers to this trunk of work as replays, a term that describes her process of animating static works she created in the 1980s and injecting them with gimmicky wordplay. Each video plays on its own large LED screen, ranging in size from eleven ½ by 11 ½ anxiety to 6 ½ by 13 feet. Untitled (I store therefore I am) and Untitled (Your body is a battleground) begin with a static view of the original images: ane shows a mitt holding a red placard with white text that reads, "I shop therefore I am," and the other depicts a bisected portrait of a female face, ane one-half with one-half-positive exposure and the other with half-negative. The face up is overlaid with white type on a red rectangle that reads, "Your body is a battleground." Over the form of the videos, the images plummet into puzzle pieces and come together again. Once re-formed, the iconic images and texts shift to a new series of phrases reflecting the nowadays moment. Untitled (Our Leader), Untitled (Remember me), and Untitled (Admit nothing/Blame everyone/Be biting) function in a similar way, in that Kruger disrupts the original images using animation and irresolute phrases.
Unless noted otherwise, all type in Kruger's artwork is Futura Bold, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus blueprint way of the menses.
In this series of videos featuring white type on reddish backgrounds, Pledge, Volition, and Vow run through, respectively, the traditional language of a final will and attestation, marriage vows, and the Pledge of Allegiance. Again, the new works breathing old ones but in this case deconstruct and disrupt familiar phrasing with jarring adjustments such equally, "I PLEDGE Fidelity TO THE FLAG OF THE U.s.a. OF AMERICA AND TO THE Commonwealth/RESENTMENT/RETRENCHMENT/RESILIENCE/RESISTANCE/Commonwealth FOR WHICH It STANDS/ FALLS/FAILS/SURVIVES/STANDS… ."
The three flat-screen works unfold in the same gallery: first Pledge plays, and so Vows, so Will, and finally all three rewind together. Likewise installed in this space is Kruger's Untitled (Our people), a digital print on vinyl featuring white type against a scarlet background. It reads, OUR PEOPLE ARE Ameliorate THAN YOUR PEOPLE. MORE INTELLIGENT, More than POWERFUL, MORE Cute, AND CLEANER. WE ARE GOOD AND You ARE EVIL. GOD IS ON OUR SIDE. OUR SHIT DOESN'T STINK AND WE INVENTED EVERYTHING.
Unless noted otherwise, all type in Kruger's artwork is Futura Bold, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is like in spirit to the Bauhaus design style of the catamenia.
Kruger'due south Untitled (Selfie) comprises a full-room installation with technical components located outside of Regenstein Hall. The ancillary monitors are described after. 2 walls of the gallery are wrapped with green, white, and blackness text. The due west wall reads, I Detest MYSELF AND You lot Love ME FOR Information technology, and across from information technology, the eastward wall reads, I Honey MYSELF AND Yous Hate ME FOR It. The message "Please do not enter unless y'all consent to exist pictured while picturing. A phone/camera is needed for entry. Thanks." is posted in Kruger'southward black sans-serif type above the entry door to the gallery. Two surveillance cameras are installed at opposite corners of the space.
Clarification of coincident monitors: Four flat-screen monitors measuring about four 3/16 by vi 13/xvi by two inches are located at the Michigan Avenue entrance, in Griffin Court, in Ryan Education Eye, and on the 2d floor of the Modern Wing. These monitors circulate activeness captured in the Untitled (Selfie) gallery in Regenstein Hall.
Unless noted otherwise, all blazon in Kruger'south artwork is Futura Assuming, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, information technology is similar in spirit to the Bauhaus pattern way of the period.
The earliest examples of Kruger'southward piece of work in the exhibition are her "pasteups," which demonstrate the analog cut-and-paste aesthetic ubiquitous to commercial design in the 1980s and 1990s and reveal her photomechanical method for producing the iconic work she is known for today. Kruger's pre-digital works—as she now calls them—tackle monumental topics like gender, class, race, economy, history, desire, voyeurism, and fact vs. fiction on a small calibration. Black-and-white images of a the contour of a female statue, an erupting volcano, 2 girls flexing their muscles, demolished houses, and a leopard cub are paired with the post-obit phrases: "YOUR GAZE HITS THE SIDE OF MY Confront, YOUR MANIAS Become Science, We DON'T Demand Some other HERO, Money TALKS, Make MY Twenty-four hour period," among other examples.
Photographic silkscreen and digital prints on vinyl present over thirty years of Kruger'due south product. The vinyl installations are situated beyond various galleries and, in some cases, appear next to time-based-media works. Gallery 7: Three vinyl works are installed alongside four LED "replay" video installations described earlier. Untitled (Unmaking the World) is located to the left of the gallery'southward entrance. The digital print on vinyl is 143 by 103 inches and is largely dominated past the caput of a grimacing man whose lower half is wrapped in barbed wire. The image is black and white and has a gray gradient background and ruby-red frame. The phrase "UNMAKING THE Earth" appears in white type on a red rectangular across the man's forehead. Installed on the wall to the right is the video Untitled (Our Leader), and the photographic silkscreen on vinyl Untitled (Who speaks? Who is silent?) is installed to the right of that. The vinyl work depicts a horizontal pair of slightly open up metal scissors. Oriented horizontally, information technology measures 52 by 197 inches. The image is black-and-white, and in the upper left and lower right corners of the composition white text on red reads, WHO SPEAKS? WHO IS SILENT? The video replay Untitled (Your body is a battleground) hangs on the wall to the right. Untitled (Admit nothing/Blame everyone/Be bitter) is installed on the west wall, to the left of Untitled (It's our pleasure to cloy you lot), a photographic silkscreen on vinyl. This work is 90 by 77 inches and features white type on a red background that reads, IT'S OUR Pleasure TO Cloy YOU. The words "PLEASURE" and "Cloy" are larger than the residuum and look emphasized beyond the image of a nude woman nailed to a cross and wearing a gas mask. The black background framed in red features four phrases in each corner. The small-scale white texts read in clockwise order from top correct, FORGET MORALITY, FORGET INNOCENCE, FORGET SHAME, FORGET HEROES. Gallery 4: This gallery presents a suite of 3 digital prints on vinyl with white type. Each work is installed on one of the gallery's three walls. From left to correct they read, Likewise Big TO Fail, GREEDY SCHMUCK, MONEY IS Similar SHIT. Yous Just FEEL Information technology WHEN It MOVES. Gallery xi: This gallery features one piece of work installed on each of the four walls and a vinyl floor covering. Upon inbound y'all encounter in clockwise order starting on the left: Untitled (Encephalon), Untitled (Truth), Untitled (Heart), Untitled (Experience is something y'all do with your hands).
The floor is covered in ruby-red vinyl with white text that reads, The vomiting body screams "kiss me" to the shitting body that coos "scent me" to the numb body that mumbles "shock me" to the hungry torso that whines "I want you within of me" to the praying body that whispers "save me" to the dead body that is hard to dispose of. Gallery 13: This gallery features three works, each installed on its own wall. Together they contain Kruger'due south 2020 digital vinyl triptych Never Perfect Enough. Each work measures 132 by 98 ⅞ inches, and they appear every bit follows:
Never features the left contour of a woman whose hair is curled with rollers on top and with pin curls on the side. Red type and nighttime light-green arrows punctuate the green image. From left to correct the text reads, EVER, AROUND, SEEN, LAND, MIND, Fear, Over again, More than, CHANGE, WAS, FORGET, BEFORE, WILL, BEEN. A red band runs across the top.
Perfect shows the back of a woman's caput. Her hair is curled with rollers on top and with pin curls below. Black type and dark-green arrows punctuate the reddish image. From left to right the text reads, SCORE, COUPLE, PITCH, GAME, FACE, LIFE, Film, MOMENT, STORM, TIMING, KISS, Offense, Identify. A red band runs beyond the peak.
Enough presents the right profile of a woman whose hair is curled with rollers on acme and with pin curls on the side. Red type and blackness arrows punctuate the blue image. From left to right the text reads, SEX, HATE, STUFF, NOISE, TALK, Power, DEATH, GOSSIP, LIES, MONEY, Beloved, LAUGHTER, VANITY, FEAR, Null. A red band runs across the top.
Museum Exterior
Kruger'southward work can be found at both of the museum'southward entrances likewise every bit other outside surfaces.
Unless noted otherwise, all type in Kruger's artwork is Futura Bold, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus blueprint fashion of the period.
Even before entering the Art Found of Chicago, you encounter the work of Barbara Kruger. The artist designed the three banners that hang in three archways outside the museum'southward Michigan Artery entrance every bit well equally the images that populate the fourteen windows of the building's facade. The offset banner reads, "THINKING OF YOU," in white all-caps type on a black groundwork with a light-green Ten crossing out the pronoun "YOU." The second imprint reads, "I MEAN ME," in black all-caps type on a white background with a green Ten over "ME." The third banner reads, "I Hateful You," in white all-caps type on a blackness background. The window installations feature 1 discussion in each window. From left to right toward the museum archway they read, PROMISE, PROPERTY, POVERTY, Turn a profit, PAIN, Ability, PLEASURE. From right to left toward the museum entrance they read, DENIAL, Deceit, DISSENT, Delight, Doubt, Cloy, DESIRE. The white texts run vertically on white-to-black gradient backgrounds.
Elsewhere on the museum campus Kruger canvassed the wall spanning from the north corner of Michigan Avenue to the staff entrance and dock on Monroe Street. An enlarged, royal image of an eye covers a square expanse on the far left wall. The white-on-black text that follows reads from left to right, LOVE IT, SHOVE Information technology, PRAISE IT, Dubiety Information technology, SHAME IT, BLAME IT, BELIEVE IT, BUY IT. Kruger recycled familiar images from her work (the bottom of shoe, praying hands, a adult female covering her confront with her hands, a pair of hands performing middle surgery) and used dissimilar colors to punctuate each phrase.
Equally you lot walk further e on Monroe, y'all see another Kruger installation in the outside-facing windows of the Alsdorf Galleries that bridge the Ferguson and Rice buildings over the Metra train tracks. The all-caps text reads, "Some other HOPE, ANOTHER FEAR, Another YEAR," and information technology spans three sets of three windows. The discussion "ANOTHER" is in black blazon on a white background and the nouns are white type on a green background.
The Mod Wing'southward west entrance, known as the "due west box," is the site of Kruger's next work. A massive vinyl mural next to a two-story escalator features two emoji-similar faces stacked on top of each other. The mural extends from the top to the bottom of the wall, spanning 50 feet high and 34 anxiety wide. The elevation frowning face up is white on a green background with a grid of smaller repeating emoji faces with a multifariousness of expressions, also drawn in white. The bottom one-half is the inverse, with a green smiley face on top of a white background and with a grid of smaller green emoji faces.
The windows above the chief entrance to the Art Institute'due south Modern Fly feature text that runs vertically. The phrases are in black-and-white, all-caps type on a white-to-black slope background, and they are run alternately from bottom to top and peak to lesser. The texts read, Showtime IS Final, AWAKE IS Asleep, PRO IS CON, Vicious IS KIND, Now IS And so. The texts installed in the windows facing inward read, BAD IS GOOD, Upwardly IS DOWN, HAPPY IS SAD, Right IS WRONG, TRUTH IS FICTION, ANYTHING GOES. The work covers all six vertical window panes and spans 21 feet loftier and 30 feet broad overall.
Unless noted otherwise, all type in Kruger's artwork is Futura Bold, a sans-serif typeface designed past Paul Renner and released in 1927. Based on geometric shapes, it is like in spirit to the Bauhaus pattern way of the period.
Even before entering the Art Institute of Chicago, you encounter the work of Barbara Kruger. The creative person designed the 3 banners that hang in three archways exterior the museum'southward Michigan Avenue entrance as well as the images that populate the 14 windows of the building's facade. The first banner reads, "THINKING OF You lot," in white all-caps type on a blackness background with a dark-green X crossing out the pronoun "YOU." The second banner reads, "I MEAN ME," in black all-caps type on a white background with a green Ten over "ME." The tertiary imprint reads, "I MEAN Y'all," in white all-caps blazon on a blackness background. The window installations characteristic one discussion in each window. From left to correct toward the museum entrance they read, PROMISE, Holding, POVERTY, PROFIT, PAIN, Power, PLEASURE. From correct to left toward the museum entrance they read, DENIAL, DECEIT, DISSENT, Please, DOUBT, Cloy, DESIRE. The white texts run vertically on white-to-black gradient backgrounds.
Elsewhere on the museum campus Kruger canvassed the wall spanning from the northward corner of Michigan Avenue to the staff entrance and dock on Monroe Street. An enlarged, purple image of an eye covers a square expanse on the far left wall. The white-on-black text that follows reads from left to right, Dear IT, SHOVE IT, PRAISE Information technology, Uncertainty It, SHAME It, BLAME Information technology, BELIEVE IT, Purchase It. Kruger recycled familiar images from her piece of work (the bottom of shoe, praying hands, a adult female covering her face with her easily, a pair of hands performing eye surgery) and used different colors to punctuate each phrase.
As you walk further eastward on Monroe, you lot run across some other Kruger installation in the outside-facing windows of the Alsdorf Galleries that bridge the Ferguson and Rice buildings over the Metra railroad train tracks. The all-caps text reads, "Another HOPE, Some other Fear, Some other YEAR," and information technology spans three sets of 3 windows. The word "Another" is in blackness type on a white background and the nouns are white type on a green groundwork.
The Mod Fly'south due west entrance, known as the "west box," is the site of Kruger'southward next piece of work. A massive vinyl mural next to a two-story escalator features 2 emoji-like faces stacked on tiptop of each other. The mural extends from the top to the bottom of the wall, spanning fifty feet high and 34 anxiety wide. The top frowning face up is white on a light-green background with a grid of smaller repeating emoji faces with a variety of expressions, likewise drawn in white. The bottom one-half is the inverse, with a light-green smiley confront on tiptop of a white groundwork and with a filigree of smaller greenish emoji faces.
The windows higher up the master entrance to the Art Plant's Modern Wing feature text that runs vertically. The phrases are in blackness-and-white, all-caps blazon on a white-to-black slope groundwork, and they are run alternately from bottom to meridian and top to bottom. The texts read, Start IS LAST, AWAKE IS ASLEEP, PRO IS CON, Brutal IS KIND, NOW IS Then. The texts installed in the windows facing inward read, BAD IS GOOD, Upwardly IS DOWN, HAPPY IS Sorry, Correct IS Incorrect, TRUTH IS FICTION, ANYTHING GOES. The work covers all six vertical window panes and spans 21 anxiety high and thirty feet wide overall.
Unless noted otherwise, all type in Kruger'southward artwork is Futura Bold, a sans-serif typeface designed past Paul Renner and released in 1927. Based on geometric shapes, information technology is similar in spirit to the Bauhaus design manner of the catamenia.
Even before entering the Art Plant of Chicago, you encounter the work of Barbara Kruger. The artist designed the 3 banners that hang in 3 archways outside the museum's Michigan Artery entrance also equally the images that populate the xiv windows of the building's facade. The first imprint reads, "THINKING OF YOU," in white all-caps type on a black groundwork with a green X crossing out the pronoun "You." The 2d imprint reads, "I MEAN ME," in blackness all-caps blazon on a white background with a green X over "ME." The third imprint reads, "I Mean You lot," in white all-caps type on a black groundwork. The window installations feature one discussion in each window. From left to correct toward the museum entrance they read, Promise, PROPERTY, POVERTY, Turn a profit, PAIN, POWER, Pleasance. From right to left toward the museum entrance they read, Deprival, DECEIT, DISSENT, Please, DOUBT, DISGUST, Want. The white texts run vertically on white-to-black gradient backgrounds.
Elsewhere on the museum campus Kruger canvassed the wall spanning from the due north corner of Michigan Avenue to the staff entrance and dock on Monroe Street. An enlarged, majestic image of an middle covers a square surface area on the far left wall. The white-on-blackness text that follows reads from left to right, Dear Information technology, SHOVE IT, PRAISE IT, Doubt IT, SHAME IT, BLAME IT, BELIEVE Information technology, Buy Information technology. Kruger recycled familiar images from her work (the bottom of shoe, praying hands, a adult female covering her face with her hands, a pair of hands performing eye surgery) and used different colors to punctuate each phrase.
As you walk farther east on Monroe, y'all encounter another Kruger installation in the exterior-facing windows of the Alsdorf Galleries that bridge the Ferguson and Rice buildings over the Metra train tracks. The all-caps text reads, "Some other Promise, Another FEAR, ANOTHER Yr," and information technology spans three sets of three windows. The word "Another" is in black blazon on a white background and the nouns are white type on a light-green background.
The Modern Fly'southward west entrance, known as the "west box," is the site of Kruger's side by side work. A massive vinyl mural next to a ii-story escalator features two emoji-like faces stacked on top of each other. The mural extends from the top to the bottom of the wall, spanning 50 anxiety high and 34 feet broad. The acme frowning face is white on a green background with a grid of smaller repeating emoji faces with a diverseness of expressions, also drawn in white. The lesser one-half is the inverse, with a green smiley confront on height of a white background and with a grid of smaller green emoji faces.
The windows above the main entrance to the Art Establish'due south Modern Fly feature text that runs vertically. The phrases are in black-and-white, all-caps type on a white-to-blackness gradient background, and they are run alternately from bottom to top and peak to bottom. The texts read, FIRST IS LAST, AWAKE IS Comatose, PRO IS CON, CRUEL IS KIND, At present IS THEN. The texts installed in the windows facing inwards read, BAD IS GOOD, Up IS DOWN, HAPPY IS Deplorable, RIGHT IS Incorrect, TRUTH IS FICTION, Annihilation GOES. The work covers all six vertical window panes and spans 21 feet loftier and thirty feet wide overall.
Unless noted otherwise, all blazon in Kruger's artwork is Futura Bold, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus pattern way of the period.
Even before entering the Art Institute of Chicago, yous meet the work of Barbara Kruger. The artist designed the 3 banners that hang in three archways outside the museum's Michigan Artery entrance equally well as the images that populate the 14 windows of the edifice's facade. The showtime imprint reads, "THINKING OF YOU," in white all-caps type on a black background with a green Ten crossing out the pronoun "YOU." The second banner reads, "I Hateful ME," in blackness all-caps blazon on a white background with a dark-green Ten over "ME." The tertiary imprint reads, "I MEAN YOU," in white all-caps type on a black groundwork. The window installations feature 1 give-and-take in each window. From left to correct toward the museum entrance they read, PROMISE, PROPERTY, POVERTY, PROFIT, Pain, POWER, Pleasance. From right to left toward the museum entrance they read, DENIAL, Deceit, DISSENT, DELIGHT, Doubtfulness, DISGUST, Desire. The white texts run vertically on white-to-black gradient backgrounds.
Elsewhere on the museum campus Kruger canvassed the wall spanning from the north corner of Michigan Avenue to the staff entrance and dock on Monroe Street. An enlarged, purple image of an eye covers a square expanse on the far left wall. The white-on-blackness text that follows reads from left to right, Dear IT, SHOVE It, PRAISE IT, Incertitude IT, SHAME IT, BLAME It, BELIEVE IT, Purchase Information technology. Kruger recycled familiar images from her work (the lesser of shoe, praying easily, a woman covering her face with her hands, a pair of hands performing eye surgery) and used unlike colors to punctuate each phrase.
As you lot walk further east on Monroe, you encounter another Kruger installation in the outside-facing windows of the Alsdorf Galleries that bridge the Ferguson and Rice buildings over the Metra railroad train tracks. The all-caps text reads, "Another HOPE, ANOTHER FEAR, ANOTHER YEAR," and information technology spans 3 sets of iii windows. The word "Another" is in black type on a white groundwork and the nouns are white type on a light-green background.
The Modern Wing's due west archway, known as the "west box," is the site of Kruger's next piece of work. A massive vinyl mural next to a two-story escalator features two emoji-like faces stacked on top of each other. The mural extends from the top to the bottom of the wall, spanning 50 feet high and 34 feet wide. The top frowning face is white on a green background with a grid of smaller repeating emoji faces with a variety of expressions, also drawn in white. The bottom half is the changed, with a greenish smiley face on top of a white groundwork and with a grid of smaller green emoji faces.
The windows above the main entrance to the Art Plant'south Modernistic Wing feature text that runs vertically. The phrases are in blackness-and-white, all-caps type on a white-to-black gradient background, and they are run alternately from lesser to tiptop and summit to bottom. The texts read, Starting time IS LAST, AWAKE IS ASLEEP, PRO IS CON, Vicious IS KIND, At present IS THEN. The texts installed in the windows facing inwards read, BAD IS Expert, UP IS Downwardly, HAPPY IS Sad, Correct IS WRONG, TRUTH IS FICTION, Anything GOES. The work covers all six vertical window panes and spans 21 feet high and 30 feet wide overall.
Mod Fly
Many of the big spaces of the museum's Modern Wing are covered by Kruger'south vinyls.
Unless noted otherwise, all blazon in Kruger's artwork is Futura Assuming, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is like in spirit to the Bauhaus blueprint way of the period.
Kruger's Griffin Court installation covers the floor with a printed vinyl that starts where visitors scan their entrance tickets and extends to the glass doors at the opposite end of the courtroom, measuring thirty feet wide to both side walls and 200 feet long. This installation features the phrase "BLIND IDEALISM IS REACTIONARY SCARY Deadly," with green X's crossing out "REACTIONARY" and "SCARY." Each give-and-take in the phrase alternates between white type on a black background and black type on a white background,
The characterization for Untitled (Bullheaded Idealism) reads:
Kruger has reprised the piece of work Untitled (Bullheaded Idealism), adapted from the prose of psychiatrist and political philosopher Frantz Fanon (1925 to 1961). Modifying Fanon'south original "Bullheaded idealism is reactionary," Kruger'southward additional adjectives accost the enduring necessity of responding to ane's context—environmental, political, and societal. The creative person's site for this urgent message transfers information technology from the textual folio to a physical, institutional space. Similar many of Kruger's text works, this besides has appeared in many other public forums.
Unless noted otherwise, all type in Kruger'southward artwork is Futura Assuming, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is like in spirit to the Bauhaus design style of the period.
An installation completely covers the south wall of the Mod Fly's Balcony Café, located in a higher place Griffin Court on the second floor of the building. In alternating bands of black-and-white text and white-and-black backgrounds, the work reads from acme to bottom, "TODAY IS THE Beginning DAY OF THE Balance OF YOUR LIFE, TODAY IS THE Last 24-hour interval OF Endless STRIFE, TODAY IS THE FIRST Twenty-four hours OF THE LOSS OF Calorie-free, TODAY IS THE LAST PLAY OF THE GAME OF LIFE, TODAY IS THE FIRST Fourth dimension YOU FIGHT THE Fearfulness, TODAY IS THE Get-go TRY AT EATING Right."
The bottom ring includes 11 green-and-white smiley faces making various expressions, including devilish, sad, flirty, and bored.
Other Museum Spaces
From the ticketing areas to elevators, Kruger's work can exist found in many spaces beyond the museum campus.
This work is presented in two different areas of the museum, each on a CRT monitor atop a grayness pedestal. One is located across from the Ryerson and Burnham Libraries and below the Grand Staircase, and the other is located on a pedestal among the Greek and Roman statues in the Jaharis galleries just outside of the Rice Building.
In 1996 Kruger explored televised mass advice with her Public Service Proclamation (PSA) project, which she developed during a residency in the Film/Video Studio Program at the Wexner Eye at the University of Ohio in Columbus. Kruger recalls that experience as "incredibly generative … a turning point in my practice." Shot by documentary filmmaker Tom Hayes using the studio's Aaton 16mm film photographic camera, the v 30-second vignettes were written and directed by the artist and shot in a single twenty-four hours. The PSA spots debuted on Columbus Public Television in 1996. The vignettes are black and white with a quick transition to colour at the cease of each scene. They characteristic ane couple, individuals, and children in various scenarios that close with the post-obit texts:
Vignette 1: Don't torture Don't hate Don't scream Let it go It's absurd to be kind. Live and let live.
Vignette ii: Empathy can alter the world. It's cool to be kind. Live and let live. Vignette 3: Fright and hate make you small-scale, biting, and hateful. Information technology's cool to be kind. Live and let live. Vignette 4: Don't be a monster. Go along your hands to yourself. It'due south cool to be kind. Live and let live.
Vignette 5: Don't talk with your fists. It's cool to be kind. Alive and let live.
Each vignette ends with the credits "Barbara Kruger —Artist in Residence Wexner Center for the Arts—The Ohio State University"
Kruger uses vinyl to encompass the risers of the stairs leading to Regenstein Hall, the primary exhibition space in the Fine art Plant's Rice Building. In white-and-greenish all-caps blazon on a black background, with one phrase on each riser. On the left stairs the piece of work reads, Non GOOD ENOUGH, NOT SKINNY ENOUGH, NOT IRONIC Plenty, Not Truthful ENOUGH, NOT Imitation Enough, Non STUPID Plenty, Not Lilliputian ENOUGH, NOT HOT Enough, Not Human being ENOUGH, Not Mean ENOUGH, NOT SILENT Plenty, Non SEXY Plenty, Non SILLY ENOUGH. And on the right stairs the work reads, Non PRETTY ENOUGH, Non USELESS Plenty, Not Aroused Enough, NOT UGLY ENOUGH, NOT DEAD Enough, Non Impaired ENOUGH, NOT NUMB ENOUGH, NOT REAL ENOUGH, NOT LOUD Enough, Corking Plenty, Non RIGHT Enough, NOT Incorrect Plenty, Non NOTHING ENOUGH.
Unless noted otherwise, all blazon in Kruger'south artwork is Futura Assuming, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, information technology is similar in spirit to the Bauhaus blueprint style of the menstruum.
Upon entering the Rice Building you meet the Roger McCormick Sculpture Court. Here Kruger installed her 1997 statue Justice among the neoclassical sculptures in this gallery.
The label for Justice reads:
In 1997 Barbara Kruger created iv fiberglass statues (non sculptures, every bit the artist specifies) of cardinal iconic figures in compromising poses—a departure from Kruger's 2-dimensional practise. In doing so, she attempted to address the unexamined constructions of history and the problematic identify of public commemorative monuments: questioning who is honored and why. Justice depicts notorious American lawyer Roy Cohn (1927 to 1986) wearing heels and draped in an American flag while kissing former Director of the Federal Investigation Agency J. Edgar Hoover (1895 to 1972). Kruger chose an intimate cover that stands in contrast to her subjects' political personas and their homophobic, racist, and anti-democratic policies—a choice the artist described as "trying to break down the sanctity effectually the rallying calls for 'Justice' and 'Family unit' and deal with the complex contradictions of public and private lives."
Kruger classicized the life-size figures using a bright white finish. In placing Justice amidst the neoclassical works in this gallery, the artist draws a connection between the virtuous expressions of our nation's by and this statue, which questions traditional commemorations.
Unless noted otherwise, all blazon in Kruger's artwork is Futura Assuming, a sans-serif typeface designed by Paul Renner and released in 1927. Based on geometric shapes, it is similar in spirit to the Bauhaus pattern style of the period.
Another Kruger installation is positioned at the far northward wall of the Michigan Avenue ticketing room. The top half of the composition features white blazon on a horizontal green band. Underneath this are 5 alternate bands of black and white, with contrasting type in white and black. The work reads, WHY ARE You HERE? TO Wait, TO LEARN, TO Call up, TO Grow, TO Come across AND BE SEEN, TO Swallow, TO Purchase, TO HAVE AN Feel, TO POSE, TO PLAY, TO QUESTION, TO ANSWER, TO SELFIE, TO BELIEVE, TO DOUBT?
Kruger produced a series of rogue audio installations for this exhibition. They are located at the museum's Michigan and Monroe entrance vestibules, in the museum shops and elevators in the Rice Building and the Mod Fly, on the stairway leading to the Rice Building, and throughout the exhibition in Regenstein Hall.
This exhibition is organized by the Art Establish of Chicago, the Los Angeles County Museum of Art, and The Museum of Modern Art, New York.
Sponsors
Atomic number 82 private support for THINKING OF YOU. I Hateful ME. I MEAN YOU. is generously provided by Liz and Eric Lefkofsky.
Lead foundation support is generously provided by Caryn and Male monarch Harris, The Harris Family Foundation.
Major funding is contributed by the Guild for Contemporary Art through the SCA Activation Fund, The Andy Warhol Foundation for the Visual Arts, Margot Levin Schiff and the Harold Schiff Foundation, Shawn M. Donnelley and Christopher G. Kelly, Constance and David Coolidge, and the Auxiliary Lath Exhibition Fund.
Boosted support is provided by Helyn Goldenberg and Michael Alper and the Susan and Lewis Manilow Fund.
Members of the Luminary Trust provide almanac leadership back up for the museum'due south operations, including exhibition development, conservation and collection intendance, and educational programming. The Luminary Trust includes an anonymous donor, Neil Bluhm and the Bluhm Family unit Charitable Foundation, Karen Gray-Krehbiel and John Krehbiel, Jr., Kenneth C. Griffin, the Harris Family Foundation in memory of Bette and Neison Harris, Josef and Margot Lakonishok, Robert M. and Diane v.S. Levy, Ann and Samuel M. Mencoff, Sylvia Neil and Dan Fischel, Anne and Chris Reyes, Cari and Michael J. Sacks, and the Earl and Brenda Shapiro Foundation.
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