Lot Details

Paper measures 72 x 26 inches (182.9 x 66 cm). Framed size is 81 x 36 inches (205.7 x 91.4 cm).

This 1988 work on paper by George Condo is one of the "imaginary portraits" which the artist began making in the '70s, and for which he has become well known. For these portraits, Condo renders characters of his own imagination in a variety of styles, ranging from the volumetric harmony of the Italian Renaissance to the colorful, hard-edged aesthetic of Pop Art-- all in the service of "Artificial Realism," Condo's own term for his representations of artificial subjects.

George Condo (b. 1957) is an influential American painter, sculptor, draughtsman, and printmaker. Condo attended the University of Massachusetts in Lowell, where he studied art history and music theory. He moved to Boston after two years of college and worked in a silkscreen shop, then joined a band called The Girls, as did abstract painter Mark Dagley (American, b. 1957). While in the band, Condo met Jean-Michel Basquiat (American, 1960–1988), and this meeting prompted Condo to move to New York and seriously pursue a career in art. Condo's first public exhibitions were held in East Village galleries between 1981 and 1983. It was also during this time that he worked in Andy Warhol's Factory, applying gold dust to Warhol's Myths series. In 1983, Condo moved to Los Angeles and had his first solo exhibition at Ulrike Kantor Gallery. He then moved to Germany and worked with the Mulheimer Freiheit group. His first European solo exhibition was in 1984 at Monika Sprüth Gallery; one of his best-known works, “The Cloudmaker," debuted at this exhibition. While in Europe, Condo met Barbara Gladstone, and, later in 1984, he had a two-gallery exhibition in New York at Pat Hearn and Barbara Gladstone Galleries. Condo also befriended Keith Haring (American, 1958–1990) and produced several of his works during this period, including “Dancing to Miles,” which was included in the 1987 Whitney Biennial and was completed in Haring's studio. One of Condo's collaborative partners was William S. Burroughs (American, 1914–1997). The two worked together on many paintings and sculptures between 1988 and 1996, and some of these works were exhibited at Pat Hearn Gallery. Together they completed a series of writings and etchings entitled “Ghost of Chance,” published by the Whitney Museum in 1991. Condo is also well-known for his book and album cover art. He provided the cover art for Jack Kerouac's “Book of Sketches” and did the album cover for Kanye West's “My Beautiful Dark Twisted Fantasy.” He has also worked on album art for composer Danny Elfman (American, b. 1953). Condo has exhibited at the Whitney Museum of American Art, New York, NY; the Museum of Modern Art, New York, NY; the Contemporary Arts Museum, Houston, TX; the Musée Maillol, Paris, France; the Solomon R. Guggenheim Museum, New York, NY; the Stalliche Kunthstalle Baden-Baden, Germany; and Bonnefantenmuseum, Maastricht, The Netherlands. He lives and works in New York.

Selected Public Collections:
Albright-Knox Art Gallery, Buffalo, NY
Astrup Fearnley Museum of Modern Art, Oslo, Norway
Fonds National d’Art Contemporain, Ministère de la Culture, Paris, France
Fonds Régional d’Art Contemporain, Ile de France, Paris, France
Museu d’Art Contemporani de Barcelona, Spain
Norton Gallery, Palm Beach, FL
Corcoran Gallery of Art, Washington DC
Museum of Fine Arts, Houston, Texas
Museum of Modern Art, New York
Solomon R. Guggenheim Museum, New York, NY
Whitney Museum of American Art, New York, NY

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The seller has recorded the following condition for this lot:
Tears / Holes
Date: Unavailable – contact Specialist for details
Area: Margin
Location: Upper right, Lower right, Upper left, Lower left
Notes: There are pin holes in the corner as well as minor creasing throughout, all of which originate from the Artist's studio.
Degree: Minor

Definition Key
Image The central image area, composition, or focal point; the area inside the margins/plate marks.
Margin Areas bordering the central image, outside the plate marks, or the perimeter area.
Edge The farthest edge of the object.
Verso The reverse/back of the object.

Minor An existing condition which generally does not involve risk of loss.
Moderate Noticeable damage, increasing in severity and/or size; should be monitored or corrected by a conservator.
Major Distinct, recognizable damage; the stability of the work is questionable and risk is a factor. Requires the attention of a conservator.
Extreme Advanced and severe damage; work is insecure and at great risk.

  • Vrej Baghoomian, New York, NY; Private Collection, Los Angeles, CA
  • Pickup Location: California, USA
  • Shipping Dimensions: 81 x 36 in. (205.74 x 91.44 cm.)
Accepted: Wire Transfer, Check
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