The definitive monograph of the outrageous, unorthodox New York painter George Condo With his arresting, unsettling style, George Condo emerged from the dynamism of the New York art scene in the early 1980s, and he has been restlessly painting, drawing, and sculpting―bringing forms into the world in one way or another―ever since. Reliably inconsistent, Condo’s references and inspirations, in both style and content, ricochet deliriously around the canon of Western art history. Somewhere between his fake Tiepolos, reconfigured Manets, impossibly intricate paintings that seem to be abstract until you get up close, and his perpetually screaming cubist hags, Condo has invented, mastered, and expanded not just one painterly language but the whole lexicon. Working closely with the artist, writer and art historian Simon Baker has combined biographical, chronological, and thematic approaches to survey George Condo’s work and career to date. An introductory essay on Condo’s contradictory nature and a chapter exploring his early career are followed by three thematic chapters that look at the years from 1980s to the present, tracing Condo’s different systematic approaches to the language of painting, exploring his relationship to the concept of abstraction, and probing the darker side of his psychological iconography. 338 illustrations

George Condo: Painting Reconfigured

Arts & Photography

Baker, Simon

Condo, George

History & Criticism

Thames&Hudson

Since the mid-1970s, George Condo has been painting portraits of people inhabiting his imagination. By transposing the techniques of the Italian Renaissance, Spanish Baroque, French Impressionism, Surrealism, 1950s Modernism, and Pop Art, Condo has created an original movement, which he calls Artificial Realism - the realistic representation of that which is artificial. In his first artist's monograph, The Imaginary Portraits of George Condo, the painter showcases an incredible selection of subjects - from Madonnas and Clowns to Metaphysical mannequins and Antipodular Beings - which had previously existed only on the periphery of his consciousness. Condo painted while on the move, and the imaginary characters were made manifest in hotel rooms during his travels throughout Europe. The result is a carnivalesque collection of creatures, the likes of which will most surely surprise, provoke, confuse, and delight.

The Imaginary Portraits of George Condo

Rugoff, Ralph

powerHouse Books

The is a 32 Page, Staple-Bound Art Exhibition Catalogue for George Condo with Collage Paintings, held January 30 - March 7, 1998.

George Condo: Collage paintings, January 30-March 7, 1998

PaceWildenstein

Portraits Lost in Space

Collections, Catalogs & Exhibitions

Pace Wildenstein, Deitch Projects

The art of George Condo (b. Concord, New Hampshire, 1957; lives and works in New York) involves a broad variety of media such as painting, drawing, and sculpture as well as collaborative projects with other artists. Condo came to New York in the late 1970s to work as a screen printer in Andy Warhol’s factory and join the East Village arts scene. Since the 1980s, he has defined a distinctive visual language in his paintings and drawings. Based on a close study of classical painting, he has evolved a style that combines a lively sense of humor with intimations of abysmal depths. He paints figures composed of fragmentary faces and geometric shapes, with unmistakable references to Cubism and Surrealism as well as Pop Art and comic strips. Figurative painting and an unconventional approach to the classical genre of the portrait are always at the center of his work. By toying with the interplay of abstraction and figuration and blending elements from high culture and the world of everyday life, Condo defies generic hierarchies within painting. He draws inspiration from art history, Greek myth, and the traditions of the grotesque and caricature. In paintings and sculptures, Condo explores the expressive potentials of human physiognomy and reflects on themes such as economic excess, insanity, and personal vanities, which he visualizes as social frames of mind.

George Condo: Paintings, Sculpture

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