Amalia Ulman, ‘The Annals of Private History’, 2015, Arcadia Missa

About Amalia Ulman

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.

Argentine, b. 1989, Buenos Aires, Argentina, based in London and Gijón, Spain