Amalia Ulman, ‘Excellences & Perfections (Instagram Update, 18th June 2014) Screenshot’, 2016, Whitechapel Gallery
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Amalia Ulman

Excellences & Perfections (Instagram Update, 18th June 2014) Screenshot, 2016

C-Type Print, reverse -mounted onto 4mm glass
8 × 12 in
20.31 × 30.5 cm
Sold
Location
London
About the work
Articles
Amalia Ulman
Argentinian, b. 1989
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Through a diverse mix of painting, sculpture, installations, smart phone apps, actions, and lectures, Amalia Ulman explores the links between consumerism and identity, class, gender, and taste. “Commodities and their arrangement define humans,” she once explained. “Staring at objects, trends, and aesthetics, I get to understand contemporary lifestyles more than by talking to people…” She is especially interested in what she calls a “bland” or “middlebrow” aesthetic, characterized by greeting cards, domestic items and ornamentation, plastic surgery, clothing, and other products that both shape notions and serve as the trappings of luxury, beauty, and the ideal lifestyle. In a sweeping installation titled Babyfootprints Crowsfeet (2014), for example, Ulman wryly commented on the idealization of motherhood and femininity, fatherhood and masculinity, and parent-child relationships by mashing up kitschy products and sentiments with darker texts and images about sex, anxiety, and inequality.

Amalia Ulman, ‘Excellences & Perfections (Instagram Update, 18th June 2014) Screenshot’, 2016, Whitechapel Gallery
Save
Save
View
View in room
Share
Share
About the work
Articles
Amalia Ulman
Argentinian, b. 1989
Follow

Through a diverse mix of painting, sculpture, installations, smart phone apps, actions, and lectures, Amalia Ulman explores the links between consumerism and identity, class, gender, and taste. “Commodities and their arrangement define humans,” she once explained. “Staring at objects, trends, and aesthetics, I get to understand contemporary lifestyles more than by talking to people…” She is especially interested in what she calls a “bland” or “middlebrow” aesthetic, characterized by greeting cards, domestic items and ornamentation, plastic surgery, clothing, and other products that both shape notions and serve as the trappings of luxury, beauty, and the ideal lifestyle. In a sweeping installation titled Babyfootprints Crowsfeet (2014), for example, Ulman wryly commented on the idealization of motherhood and femininity, fatherhood and masculinity, and parent-child relationships by mashing up kitschy products and sentiments with darker texts and images about sex, anxiety, and inequality.

Amalia Ulman

Excellences & Perfections (Instagram Update, 18th June 2014) Screenshot, 2016

C-Type Print, reverse -mounted onto 4mm glass
8 × 12 in
20.31 × 30.5 cm
Sold
Location
London
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