A show spanning 40 years of the L.A.-based artist Barbara Kruger's work is now on view at LACMA.
Kruger mixes exceptional graphic design skills with deep knowledge of the structural complexities of art and language, not to mention the media maelstrom in which modern life is lived. For 40 years, the L.A.-based artist has surveyed the social, cultural and political landscape with a deft combination of acute insight and lacerating wit.
The hands belong to a businessman, judging from the glimpse of shirt cuffs and suit jacket. So is this a knowing reference to the power of patriarchy to define — and manipulate, disfigure or distort — veracity? Disembodied experience is now commonplace in contemporary life — a truth — as anyone looking into the flickering light of a cellphone screen can attest. One primary difference between this survey and Kruger’s MOCA midcareer retrospective almost a quarter-century ago is that, in the interim, an analog image universe has been almost totally transformed into a digital one.
Kruger, however, avoids such oppositional positions. Instead, she drew on Pop, Minimalist and Conceptual art of the immediately preceding generation to understand and question, in her words, “the systems that contain us.” Beginning with “I pledge allegiance,” the last word is supplanted by the sequence “adherence – adoration – anxiety – affluenza – I pledge allegiance to the flag…” You think your way through a vow you can probably recite by heart, stumbling across unacknowledged sentiments and, elsewhere as the text continues, even shocking cruelties and bigotries. Finally, you arrive at a fuller understanding of your participation in the construction of a social contract.
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