Back

GEORGE CONDO (b. 1957)

 
Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure. Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure.
Mycenaean Goddess199061 x 22 x 15 1/2 in. bronze
Provenance
Private Collection, acquired directly from the artist
Christie's, "First Open Hybrid", Sale No. 13615, Lot 247, 14 July, 2016
Private Collection, Puerto Rico

160,000

Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure.
Inquire

Similar Artworks

San Loretto (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit.

ANSELM KIEFER

Not Vital - Tongue - stainless steel - 307 x 67 x 59 in.

Not Vital

JULIAN SCHNABEL - Untitled - oil, resin, gesso, fabric and leather on seamed dropcloth - 96 x 120 in.

JULIAN SCHNABEL

NORMAN ROCKWELL - Weighing In (The Jockey) - charcoal on collaged paper - 41 1/2 x 36 in.

NORMAN ROCKWELL

Alex Katz is a pivotal figure in American figurative art. His colorful, stylized, flat portraiture and paintings stand in stark contrast to the Abstract Expressionism in which he came of age. Not quite minimalist, his deadpan figures have qualities that also lends comparisons to pop culture and commercial design. This painting of a man playing the ukulele highlights the sort of gatherings of young people that would interest Katz giving both the sense of cool detachment but also cool hipness.

ALEX KATZ

AARON CURRY - Yellow Bird Boy - powder-coated aluminum and steel - 114 x 97 x 60 in.

AARON CURRY

STERLING RUBY - Big Grid / Solo Tear - welded brass - 84 x 84 x 36 in.

STERLING RUBY

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings – notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself; considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewer’s movement. While there is innate movement in the shifting words and images, these holograms also represent a full stop – a transitory moment frozen in time.

ED RUSCHA

American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.

ROBERT RAUSCHENBERG

TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.

TOM WESSELMANN

Untitled (Hologram Suite) by Louise Bourgeois contains eight individual glass holograms initially created by the artist in 1998 and fully realized in 2014. The imagery includes lovers, chairs, a bell jar, and enclosures. These elements reoccur in many of the artist's installations and are related to her interest in physical and emotional isolation and sexuality. The images recorded within these holograms were created from original Bourgeois sculptures. Encoded on glass and activated by light, the images appear only when illuminated at a particular angle, and they come to life with a red glow.

LOUISE BOURGEOIS

KATHARINA GROSSE - Untitled 2015 - acrylic aluminum - 41 1/2 x 40 x 18 in.

KATHARINA GROSSE

WILLIAM MORRIS - Artifact Pouch - blown glass - 20 x 20 x 20 in.

WILLIAM MORRIS

SERGEJ JENSEN - Men with Hats - canvas collage on canvas - 71 x 51 1/2 in

SERGEJ JENSEN

HASSEL SMITH - I Dreamt, I Dwelt in Marble Halls - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled, 109-84 - acrylic on canvas - 67 5/8 x 68 in.

HASSEL SMITH

THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.

THEASTER GATES

THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

THEASTER GATES

GUILLERMO KUITCA - Untitled - oil on plywood - 18 1/4 x 25 5/8 in.

GUILLERMO KUITCA

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

RUSSELL YOUNG - Mountain - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

RUSSELL YOUNG

JOHN FRAME - Untitled - wood and mixed media - 53 x 40 x 6 3/4 in.

JOHN FRAME

JEFF KOONS - Girl with Lobster - color digital ditone print - 29 1/4 x 24 in.

JEFF KOONS

ELLSWORTH KELLY - Pears III, (A.47) - lithograph - 35 3/4 x 24 1/2 in.

ELLSWORTH KELLY

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Caribou Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 32 x 32 in.

PETER D. GERAKARIS

CHRIS TRUEMAN - ZS - acrylic and acrylic spray paint on canvas - 36 x 38 3/4 in.

CHRIS TRUEMAN

ROGER THOMAS - Perfected World 3 Candlestick - pastel on Dieu Donné handmade archival rag - 60 x 40 in.

ROGER THOMAS

JOAN NELSON - Untitled - acrylic ink and acrylic medium on paper - 2 7/8 x 2 7/8 in.

JOAN NELSON

RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in.

RONALD DAVIS