Barbara Kruger

身體痛苦不僅是生理反射和生化過程而已，也是個人主觀感受的原型，使患者陷入不可言喻的孤寂和憂傷。如Elaine Scarry所言，痛苦的經驗難以透過語言適切表達，甚至抗拒和摧毀了語言，使患者回到哭喊和呻吟的原始聲音。面對這種表達困境的挑戰，無論是描寫被蛇纏身的勞孔或釘十字架的耶穌，藝術家一向致力以視覺形式傳遞身體所發出的聲音，表達身體處於危機的樣貌、過程和後果。藝術因而使我們探索痛苦的生理、心理、社會、文化意義。
文字和圖像聯合營造痛苦的場景，貫穿芭芭拉‧克魯格1970年代至90年代的作品，包括攝影蒙太奇和多媒體裝置，展示於美術機構、戶外公共場所、書刊和商品等場域，如此顯要的創作主題卻未曾受到藝術史學界應有的重視。她從新聞、廣告、醫學書刊擷取的人體形象，脫離了原本的功能和脈絡，殘缺不全且模糊神秘。在處理成粗粒子且高反差的黑白攝影中，克魯格介入若即若離的文字，使斷裂、受傷、靜默的身體產生發言和溝通的能力。經過編排導演的痛苦宛如疾病、暴力和犯罪的證據，引發觀者從身體的傷痕、表情和姿勢去搜尋線索和情節，思考性別政治和社會關係的問題，而非陷入美學的沉思和奇觀的迷炫中。誠如克魯格的自述：「我所製作的圖文作品以視覺記載著人們身體之間的碰撞，以及建構與控制身體的日夜。」
本文首先討論克魯格早期《醫院》系列中的物化身體與男性醫療權威，第二部分則著重1980年代攝影蒙太奇作品中痛苦和媒體文化、刻板印象和死亡之間的關係，最後將分析1990年代初裝置與戶外看版作品中的情慾與生育所體驗的痛苦。在克魯格的作品中，身體痛苦不僅作為豐富的隱喻，也是社會病變的警訊，例如家庭暴力和愛滋病。本文參照當代藝術、醫學和文化研究等相關論述，探討克魯格如何透過痛苦的主題，喚起文化中日漸麻醉的同理心。

In Barbara Kruger’s sophisticated juxtaposition of images and words emerges injured hands, broken hearts, terrified faces, bandaged heads, punished bodies, and birthing genitalia that poignantly associate with pain. And the text messages superimposed over the pictures deal with experiences and effects of pain: “There is only one antidote to mental suffering and that is physical pain.” Art historians have largely ignored the fact that the theme of pain, including physical torment and mental suffering, actually underlies Kruger’s work made between the late 1970s and the 1990s. This body of work throws into relief her interests in issues and representations of sexual politics, medical establishment, and media spectatorship over two decades. Her scenes of pain reveal a keen awareness of the problematics of spectacle of violence, horror, and “wound culture.” In this spectacle-crazed yet shock-proof time, she shuns away from lurid and gory scenes of pain but raises questions about the meanings of bodies in crisis with intelligence and acuity.

We shall see in this essay it is in the imagery of pain that the dynamics between pictures and words produces a confluence of Kruger’s major concerns of social relations, body politics, and media culture. This interpretative strategy will hopefully more clearly reflect the persistent conflation of issues and interests evident in Kruger’s artistic practice, and avoid the common pigeonholing and categorization of gender, economic, political, and formalist readings that the artist has tried to dispel. I will first read the critique of medical treatment of pain in Kruger’s early photo-text work Hospital and then analyze her continued use of medical materials, responses to media culture and stereotypes, and inquiries into the borders of pain in the work of the 1980s. Finally I focus on the pain of childbirth and the theme of empathy featured in the installations and billboards of the early 1990s within a gradual culture-wide anesthesia.

Nel testo è affrontata l'analisi semiotica di 6 opere di Barbara Kruger. Al di là di una "firma plastica", cioè gli attributi di riconoscibilità dell'artista nelle opere, si celano diverse strategie: ne vengono individuate tre, successivamente comparate ai differenti contesti o media d'uso.

L’IMMAGINE POLITICA DI JOHN HEARTFIELD , BARBARA KRUGER E BANKSY

Ambra Sombo                                                                                                          Anno 2015\2016

Dagli albori dei tempi l’artista è una figura che in un contesto sociale può, attraverso le sue opere  comunicare allo spettatore.
Nelle pagine che seguono verranno affrontati tre artisti: John Heartfield, Barbara Kruger e Banksy.
I fattori che nonostante il diverso contesto socio-culturale riesce comunque ad accomunarli  sono:
la convergenza all’analisi di temi sociali e politici;
il dialogo con le masse instaurato dalle loro opere ognuna con la propria metodologia e sempre determinato da una forte connotazione attivista;
la leggibilità immediata; e soprattutto nel caso di Heartfield e Kruger la funzione diretta che attribuiscono alla parola scritta;
sono agitatori-politici attraverso le loro immagini carica di satira e ironia;
e nel caso di John Heartfields e Banksy una presa di pozione in prima linea anche a costo di mettere a repentaglio la loro incolumità.
Queste sono le caratteristiche  che nonostante le diverse circostanze storiche e i diversi contesti in cui essi sono attivi li accomunano. In questa tesi si andrà ad analizzare l’artista, il contesto e soprattutto la funzione delle loro opere, come comunicatrici.
Per immagine politica in questa tesi s’intende propriamente un arte figurativa che nella sua forma e nel suo contenuto verte sul dato reale, dove si ritrova l’esigenza di fermare lo sguardo sui dati della realtà, che si riscontrano nella situazione socio-politica con cui questi artisti si scontrano. Questi artisti sebbene collocati in spazi temporali diversi, si possono definire attivi,  che producono arte funzionale e che comunicano socialmente, analizzando questioni relativamente controverse (alcune più contemporanee di altre) riscontrate nel loro percorso, utilizzando immagini la cui lettura è quasi immediata e il messaggio insito carico politicamente  .
Come già sommariamente esposto, questi tre artisti propongono un tipo di operazione artistica, che si può racchiudere schematicamente  in quattro fattori determinanti. Propongono un arte che ha come predisposizione, una funzionalità socialmente attivista, questi artisti hanno pregresso una formazione che li porta al contatto con le masse, con le quali, attraverso i loro lavori, cercano di creare una relazione (ideologicamente già costruita), suscitando di conseguenza una riflessione attenta al tema presentatogli.
John Heatfield pubblica settimanalmente dal 1930 al 1938 i suoi fotomontaggi per la rivista “Arbeiter-Ilustrierte- Zeitung; Barbara Kruger utilizzando canali di mass-media come cartelloni pubblicitari e campagne sociali; Banksy attraverso i murales, nel contesto urbano;
L’immediata lettura dell’opera è la chiave fondamentale nell’analisi ed esposizione di questi tre artisti, la recezione del messaggio è spesso sottolineata dall’accostamento dell’immagine accompagnata spesso da un testo  si rimanda quindi  la funzione diretta della parola scritta. Tutti e tre lavorano su messaggi con una componente ironica e\o satirica.
Si può quindi arrivare alla conclusione che attraverso l’utilizzo di satira\ironia e messaggi provocatori questi artisti fungono da comunicatori sociali, si possono definire artisti militanti.
Si può quindi concludere che l’Arte può avere una funzionalità politica e sociale, che dovrebbe essere fonte di riflessioni del contesto storico in cui ci troviamo.
Sia Banksy ,che Barbara Kruger e John Hearfield creano un arte che in parte si presenta come rispecchio del loro contesto, sono riusciti a creare un tipo d’intervento artistico che cerca di essere funzionale in primis nella società.
Nel contesto culturale odierno è bene utilizzare l’Arte come mezzo di comunicazione per affrontare quei temi e quelle argomentazioni su cui è necessario soffermarsi, perché se anche non graditi, sono comunque parte costituente della società contemporanea. L’utilizzo dell’arte per diffondere una maggiore consapevolezza nell’individuo contemporaneo, attraverso quei canali di comunicazione in cui siamo completamente immersi, è un buon esempio da prendere da questi artisti.

Thanks to postmodernism it is nowadays a commonly understood truth that even those realities which seemed to be very factual, as the photographic ones, are not as certain as before. Because we have now realised that we will never be able to know that a fact happened for sure, whether that fact is truly represented or not is not a great issue anymore, as long as it is comprehensively well represented. In a world where everything is relative and depending on the personal perspectives of the ones, a fact is authentic when it creates real discussion around it or touches viewers’ sensitivity. Photographers such as Thomas Demand test the line between documentary and personal expression.

Nueva Jersey, 1945) es una artista conceptual perteneciente al movimiento feminista. En lo concerniente a su formación, cabe destacar el ingreso en The Parson Design School (1965), escuela que le abrió camino hacia su vocación profesional. De este modo, en los

Özet
Araştırmada Hegel'in bilinç ve özbilinç kavramları üzerinden Efendi-Köle diyalektiği analiz edilerek  mutlaklaşma, özgürleşme ve kendinin bilincinde olma durumları Hegel'in tarih yorumu etkisinde incelenmektedir. Ardından sanat alanında özbilincin devreye girdiği dönem ve sanat yaratımlarında eleştirel söylem dili araştırmaya dahil edilerek, sanatçının kendisi etrafındaki gerçeklik karşısında geliştirdiği farkındalık ve ortaya konulan sanat eserleri ile bilinçli bir başkaldırı gerçekleştirmesi ve bunun sanat tarihindeki yansımaları olan farklı dönemlere ait sanat hareketleri eleştirel bilinç odağında yeniden yorumlanmaktadır. Bu farkındalığa bir başkaldırı niteliği taşıyan feminist söylem dili ve eleştirel bilincin sanat alanında göstergeleri Barbara Kruger örnekleminde analiz edilmektedir. Barbara Kruger’ın çalışmaları Hegel’in Efendi-Köle diyalektiği bağlamında incelenerek örnekleme alınan çalışmalar ve mekan tasarımları ile yazı-görsel figürlü kolaj tasarımları bağımlı ve bağımsız özbilinç göstergeleri ile çözümlenmektedir. Araştırmanın yöntemi evren ve örneklem üzerinde yapılan betimsel bir araştırmadır. Benzeşim modelinden yararlanılan araştırmada ilişkisel tarama modelinde karşılaştırma türü tarama yöntemi kullanılmıştır.
Abstract
In the study, by analyzing Hegel's the master-slave dialectic on the concepts of consciousness and self-consciousness is examined under the influence of Hegel's interpretation of history in terms of absolutism, liberation and self-consciousness. Then, in the field of art, self-consciousness has been included in the period and artistic creations in which the critical discourse has been included in the research, the awareness that the artist has developed in the face of the reality around him and the realization of a conscious rebellion with the artworks revealed and the art movements of different periods are reinterpreted in the critical consciousness center. Feminist rhetoric, which is a rebellion to this awareness, and language and critical awareness are analyzed in the field of art in the sample of Barbara Kruger. By analyzing Barbara Kruger's works in the context of Hegel's master-slave dialectic, sampled works, space designs and collage designs with the written-visual figures are examined with regard to dependent and independent self-consciousness indicators.The method of research is a descriptive study on the universe and the sample. In the study using the affinity model, the coparison type screening method was used in the relational screening model.

art is known for her contemporary and controversial art. She explores in her work political, social, and especially feminist provocations. This essay discusses how consumerism, femininity, the ´gaze´ of a male and nude/ semi-nude images refers to the identity of a women. Complementary to this, the essay will be also discussing Richard Kern´s way to present women´s identity through his work. The key aspect examined two different artist who are trying to explore the same theme. The three images have been chosen because, they especially deals the aspects that will be analyzed in the essay.

The purpose of this paper is to argue that greater awareness of the connections between the traditions and conventions of visual art and the production and consumption of images leads to enhanced ability to understand branding as a strategic signifying practice Several prominent, successful artists served as case studies to illuminate the potential for insights into the interconnections between art, branding, and consumption
by turning to art history and visual studies. Discusses the cross-fertilization of art and branding, focusing on three contribution areas: the interactions between art, brands and culture, the self-reflexivity of brands, and brand criticism.Successful artists can be thought of as brand managers, actively engaged in developing, nurturing and promoting themselves as recognizable “products” in the competitive cultural sphere.This paper places brands firmly within culture to look at the complex underpinnings of branding, linking perceptual and cognitive processes to larger social and cultural issues that contribute to how brands work and argues that art-centred analyses generate novel concepts and theories for marketing research.

Some time ago, while discussing a more squarely academic paper I had written on Cindy Sherman while a PhD student at the Graduate Center, CUNY, the art historian David Joselit said to me, “Cindy isn’t afraid of being ugly.” My memory is rather scattershot, but when it comes to my time in New York, I remember hookups (the bad ones, the should-have-been-good ones), movies, every square inch of the walk from Washington Square Park to SoHo, and this comment. Feminist misgivings about the male gaze aside, what struck me was the certainty with which the comment was made, indeed a variety of certainties: that we can discern the artist’s intention, that being ugly must inspire fear (in fairy tales and melodramas, sometimes the most beautiful souls are ugly indeed or end up victorious), that queer art history is just a series of iterations of Winckelmann’s horny aesthetics, that the implication might be that I myself am ugly too, that being ugly is undesirable but intellectually interesting.

Este artigo pretende investigar a obra da artista contemporânea norte-americana Barbara Kruger, contextualizando o surgimento e desenvolvimento das artes da instalação e dos chamados Site Specific Works, ferramentas frequentemente utilizadas pela artista. Serão igualmente investigadas algumas de suas matrizes artísticas, bem como o diálogo profícuo estabelecido com uma certa tradição, para a produção do que considero ser uma arte combativa e compósita, que amalgama e refuncionaliza elementos da publicidade, das artes visuais e da fotografia. Abstract: This article intends to investigate the oeuvre of the American contemporary artist Barbara Kruger, contextualizing the birth and development of Installation, and the so-called Site Specific Works, tools frequently used by this artist. Some of her artistic matrixes will also be investigated, as well as the fruitful dialogue established with a certain tradition, in order to produce what I consider to be a combative and composite art, one that amalgamates and refunctionalizes elements of advertising, visual arts, and photography.

One reason for this renewed interest may be due to a recent change in the production, distribution and consumption of stock imagery. Digital technologies have transformed the nature of stock imagery. Agencies have moved their files from the draws of filing cabinets, to websites hosted on servers. Accelerating this shift was the arrival of microstock websites (like iStockphoto). These were spawned by the combination of digital photography making photography cost-free and broadband Internet. Previously a fragment of the industry, the ability to source and distribute amateur photography quickly and cheaply online, made microstock sites incredibly competitive. 2 They could afford to sell images at a fraction of already aggressively priced Royalty Free images. 3 This was not only attractive to brands and advertisers looking to cut costs, but also artists. Stock photography and video was now a comparably inexpensive raw material to work with.

When we talk about Banksy and poetry, it is first his pseudonym, which is poetic. Robbin’ banks. Like graffiti this pseudonym is an action (robbin’ or scratching), it is innovative and funny, and it is between words and pictures. Banksy’s stencils are in form and content closer to words than to painting. Then second Banksy uses inscriptions or comments next to his pictures or without them, often known slogans, which he places in a unfamiliar context. And third Banksy’s poetic and highly aphoristical texts in his books and on his website, which we did not have time to take a closer look at, which are poetry by Banksy, but not Street Art at the end.