MASHUP – Barbara Kruger @ the VAG

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MASHUP, the spring exhibition at the Vancouver Art Gallery (VAG) is a challenging, exciting and massive exploration into, well, mashup, in all of its costumes.

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This is an extract from the VAG website for this show:

From the moment that Pablo Picasso and Georges Braque undertook the revolutionary gesture of adding a rectangle of floral wallpaper, a newspaper headline or a scrap of sheet music to their compositions, they initiated an immediate and fundamental shift in European art.
The resulting explosion of mashup strategies employed across media and movements offers the clearest evidence of the relevance of this process to the growth of visual culture during the 20th century. From Marcel Duchamp to Jean-Luc Godard, Liz Magor to Isa Genzken, artists of diverse disciplines have adopted and reworked this creative strategy.

www.vanartgallery.bc.ca/the_exhibitions/exhibit_mashup.html

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This whole show is ambitious and it works, despite its size, complexity and scope. If you are within an attainable bubble of time and space, don’t miss it. If you aren’t check out the VAG website, given above. However, take note, this is a viewing experience that calls for more than a single visit if you want more from art than a passing graze.

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This and my next few posts will be connected to Mashup but focused on works in the show, like Barbara Kruger, that incorporate or talk about text… are text based, because that is the central nervous system and passion of this blog.

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The faux ‘classical’ VAG foyer containing the site specific Barbara Kruger installation stopped me in my tracks and is a brilliant example of mashup itself, overlaying pastiche with pastiche. Kruger’s towering text and billboard size emoji fill the architectural space in perfectly congruous incongruity. The artist may have shed her use of images but she has not lost her searing ability to critique society and open our eyes and minds.

This is a photo of and the VAG write-up for Barbara Kruger: (click to enlarge)

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DSC00167I have posted about Barbara Kruger in the past if you are interested in seeing some of her earlier work.

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The first photograph in this post is from the VAG’s website, (thank you VAG). The photo of Ms. Kruger is from Google Images.  The remainder above and below are by me.

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In case you are unable to make out the context from the photos they are as follows:

The Floor:

AND ABOVE ALL…BEWARE OF ASSUMING THE STERILE ATTITUDE OF A SPECTATOR. FOR LIFE IS NOT A SPECTACLE.

FOR A SEA OF MISERIES IS NOT A PROSCENIUM.

A MAN SCREAMING IS NOT A DANCING BEAR.

The Lower Wall:

PERFECT ORDER IS THE FORERUNNER OF PERFECT HORROR.

Above Stairs:

THE GLOBE SHRINKS FOR THOSE THAT OWN IT

and above that:

NAME  GAME CLAIM  MAIM  BLAME  SHAME  TAME

 

‘The 100’ #24 – Barbara Kruger…

We Don’t Need Another Hero by Barbara Kruger. 1985

A contemporary of Jenny Holzer and another American feminist conceptual artist is Barbara Kruger (b. 1945). Much of her work consists of found black-and-white photographs overlaid with self-composed textual captions.

Plaque – How Dare You Not be Me. by Barbara Kruger.

 

She merges her images with pithy and aggressive text that involves the viewer in the struggle for power and control that her captions speak to. Much of her text questions the viewer about feminism, consumerism, individual autonomy and desire.

I Shop Therefore I Am – by Barbara Kruger.

 

 

Barbara Kruger has said, “I work with pictures and words because they have the ability to determine who we are and who we aren’t.”

Thinking of You. by Barbara Kruger.



Your Body is a Battleground. by Barbara Kruger.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Information from artcyclopedia.com and Wikipedia. Images from Google Images.

‘The 100′ series was initiated by my 100th Post in April 2012. As Words and Images are the essence of my blog my intention is to present 100 pieces of textual art from historical and contemporary artists and from my own hand. To view the series to date click on ‘The 100’ in my Category Menu. Thank you for viewing.