Barbara Kruger (born January 26, 1945, Newark, New Jersey, U.S.) is an American artist who challenged cultural assumptions by manipulating images and text in her photographic compositions.
Kruger attended Syracuse (New York) University and continued her training in 1966 at New York City’s Parsons School of Design. For a time she pursued a career as a graphic designer, eventually becoming chief designer at Mademoiselle magazine in New York. In the 1960s and ’70s she also explored an interest in poetry. During these years she moved from a concentration on soft sculpture (namely, woven wall hangings) and painting to photography.
By the late 1970s Kruger had developed her trademark style: appropriating anonymous cultural images and text—the latter often displayed in white Futura type across a red box—and juxtaposing them in unexpected ways. In her 1989 work Untitled (Your Body Is a Battleground), for example, she employed an oversized black-and-white image of a female model’s face and divided it vertically into positive and negative halves. Placed across the image is the statement “Your body is a battleground,” by which she called into question the objectification of women and raised the issue of women’s reproductive rights, which were under threat by antiabortion legislation. Such work embodied the deconstructivist concerns of much feminist art from the 1980s and ’90s. By manipulating and recontextualizing imagery, Kruger also sought to question the way accepted sources of power, in this case the mass media, present female identity. Her grounding in the theoretical connected her with contemporary developments in conceptual art.
While Kruger often produced her work on vinyl, she also made everyday objects and increasingly large-scale installations. In 1990 her work Untitled (I Shop Therefore I Am) (1987) appeared on shopping bags, while Untitled (Questions), a three-story mural resembling the U.S. flag, was installed at the Museum of Contemporary Art, Los Angeles (later the Geffen Contemporary at MOCA). The mural featured nine questions, including “Who is beyond the law?,” “Who does the time?,” and “Who salutes the longest?” The provocative yet abstract questions remained relevant when the mural was reinstalled in 2018–20 as the United States reckoned with protests over racial injustice and heightened political divisions.
Also in the 21st century, Kruger explored video as a medium, creating such works as Plenty (2008) and The Globe Shrinks (2010). In addition, she began covering entire spaces with large text, as in Belief+Doubt (2012), an immersive installation in the Hirshhorn Museum’s lower lobby and bookstore (Washington, D.C.). As part of a commission for the 2017 Performa Biennial (New York), Kruger installed works at a skate park and designed limited-edition public transit fare cards. She also created her first performance piece, Untitled (The Drop), a pop-up shop selling skateboards and clothing emblazoned with new and familiar slogans, including “Don’t be a jerk” and “Want it, buy it, forget it.” Many critics interpreted the piece as a parody of the skateboarding brand Supreme, which had been using Kruger’s signature white text on red for years.
(Read Tony Hawk’s Britannica entry on skateboarding.)
Kruger taught at the University of California’s Berkeley, San Diego, and Los Angeles campuses. Solo exhibitions of her work were organized by the Institute of Contemporary Arts (1983), London; the Museum of Contemporary Art (1999), Los Angeles; the Moderna Museet (2008), Stockholm; the National Gallery of Art (2016), Washington, D.C.; and the Art Institute of Chicago (2021). She participated in the Venice Biennale in 1982 and 2005 and received the Leone d’Oro for lifetime achievement at the latter. Kruger’s work appears in the permanent collections of several major museums, including the Whitney Museum of American Art and the Museum of Modern Art, both in New York City.
