Magazine article Artforum International

Barbara Kruger

Magazine article Artforum International

Barbara Kruger

Article excerpt

I STARTED OUT IN THE LATE 1960s as a magazine designer for Conde Nast, where I had the luxury of working with the best technology at the time. In laying out editorial content, I became attached to sans serif type especially Futura and Helvetica, which I chose because they were the most readable; they could really cut through the grease. Yet I never fetishized them or my process, and as time went on and the industry started using computers, I did too. One thing that never changed, however, is my preference for commercial and industrial formats. For one, they are incredibly effective at graphically communicating an idea. And they allow an image to be reproduced well and at a wide range of scales--room-size installations, catalogue illustrations, billboards, even digital-image thumbnails. I like that my work retains its identity regardless of size or medium. Of course this means it also lends itself to easy reuse by other people, but I'm fine with that. For my contribution to "That's the Way We Do It," a show exploring the "aesthetic of appropriation" at the Kunsthaus Bregenz in Austria last year, I searched Google and Flickr and found 550 images based on my work. …

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