C-type print, reverse-mounted onto 4mm glass.
20.31 x 32.5 cm [8 x 12.8 inches].
Edition of 20, accompanied by a signed and numbered certificate.
About the work
Amalia Ulman’s edition accompanies her work, Excellences and Perfections, in the Whitechapel Gallery 2016 exhibition, Electronic Superhighway 2016 - 1966, and is a screen-grab including one of the featured images. The work, which is reverse-mounted onto glass, takes on the characteristics and dimensions of a 13-inch laptop screen.
About the artist
Amalia Ullman’s works explore the relationship between consumerism and identity – particularly that linked to class and social status – through the language of ‘middle brow’ aesthetics. What she terms ‘sublime ordinariness’ manifests itself in a muted pastel-and-beige colour palette, and recurring visual motifs such as pearls, butterflflies, hearts and motivational slogans, act as reminders of the ubiquity of the mundane and the cute in presentations of identity and taste in social media and beyond. Through performance and performative gestures online, including her Instagram profile where she staged a four-month-long performance entitled Excellences and Perfections, 2014 that explored the culture of extreme makeovers, the artist blurs the distinction between herself and the objects of her scrutiny.
Amalia Ulman was born in 1989, Buenos Aires, Argentina, and lives and works between Los Angeles, USA, London, UK and Gijón, Spain. Recent exhibitions include Stock Images of War at James Fuentes Gallery, New York, 2015; two solo shows in Los Angeles, CA, 2014, Used & New at ltd los angeles and Delicious Works at Smart Objects; Baby Footprints Crow’s Feet with Ellis King in Dublin and her first London solo show The Destruction of Experience at Evelyn Yard in 2014, and Profit | Decay with Katja Novitskova at Arcadia_Missa, London, 2012.
Whitechapel Gallery editions are generously donated by the artists. All proceeds from the sale of these works directly support our exhibition and education programmes.