An artist whose aesthetic influence has helped alter the face of contemporary art, Barbara Kruger â€“ along with her text-adorned achromatic montages â€“ has, over the past three decades constructed a visual language indisputably her own.
In recognition of this fact, the Mayfair-based branch of the Sprueth Magers Gallery will this month open an exhibition of some of Krugerâ€™s earliest work. Elegantly encapsulating the American artist's distinctive style, the show will remain in-situ until January of next year.
An unabashed critique on the media-saturated society of her day, Krugerâ€™s distinctive, high-contrast work remains seeringly relevant. Visually arresting despite its simplicity, the advertising-inspired aesthetic employed only amplifies the irony of Krugerâ€™s message.
Multifaceted, conceptually layered and politically charged, Krugerâ€™s commercial critique moves beyond the realms of mere appropriation, and comes imbued with an intellectual depth infrequently achieved by many of her pop-based contemporaries.
With blocky strips of text declaiming â€˜Your misery loves companyâ€™ and â€˜Now you see us/Now you donâ€™tâ€™ pasted upon arcane, predominantly achromatic images of ballet dancers, dental surgery and hammer horror screen shots - Kruger weaves unexpected threads of meaning into her seemingly arbitrary compositions.
Despite its ever-increasing age and distinctly two-dimensional approach, the work on show at Sprueth Magers manages to perfectly complement todayâ€™s digitalized creative arena - an achievement definitive of Krugerâ€™s ahead-of-her-time approach.