George Condo

Paper Faces, 2000

Screenprint in colors, on wove paper
Signed, dated and numbered from an edition of 18 Artist Proofs (AP) in pencil (the regular edition was 108), published by Lincoln Center for the Performing Arts, Inc., New York
32 1/4 x 48 3/8 inches (81.9 x 122.9 cm.)
Condition:
Poor
Fair
Very Good
Excellent
Mint
Provenance:
Private Collection
Location:
Hong Kong

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More information about this artwork

George Condo, an influential figure in contemporary art, is renowned for his ability to blend classical painting techniques with modern, often surreal imagery. His work explores the human condition, frequently portraying distorted and abstracted figures that merge humor, absurdity, and psychological depth. Condo’s unique approach draws from diverse art historical references, including Old Master portraiture, Cubism, and Pop Art, creating a distinct visual language that reflects the complexities of modern identity and emotion. His ability to fuse the grotesque with the elegant has earned him a place as one of the most innovative artists of his generation.

Condo’s Paper Faces (2000) is a striking example of his mastery of form and his exploration of the human psyche. This screenprint in colors, created on wove paper with full margins, features Condo’s signature style of fragmented, expressive faces that teeter between abstraction and figuration. The piece measures an impressive 32 1/4 x 48 3/8 inches (81.9 x 122.9 cm.) and is signed, dated, and numbered in pencil. This specific work is one of 18 artist proofs (AP), in addition to the regular edition of 108, published by Lincoln Center for the Performing Arts, Inc., New York. The vibrant composition of Paper Faces captures Condo’s ability to convey both chaos and harmony, inviting viewers to delve into the fragmented yet deeply human emotions that lie within his surreal portraits. Through this work, Condo continues his exploration of the boundaries between beauty and distortion, offering a powerful commentary on the nature of identity and perception.

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