George Condo - Contemporary Art London Thursday, June 21, 2007 | Phillips

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  • Provenance

    Monika Sprüth Philomene Magers, Cologne

  • Catalogue Essay

    Music and art when fused together can create a powerful experience for an audience. The ability to see music in a painting and to use brush stokes to conduct music onto the canvas can be seen as a form of synchronicity. Therefore, music can directly respond to art and in turn art can be reflected in its corresponding musical form. An abstract painting should invite a viewer to see or find something for themselves within the work. All they are ever given from the artist is merely a suggestion. Hopefully a painting demands the eye’s attention for some reason, sometimes good, sometimes bad, but valid either way. A piece of music must also speak to its audience, suggesting a subject and leading the ear on a journey. F. J. Hawkins, article taken from

  • Artist Biography

    George Condo

    American • 1957

    Picasso once said, "Good artists borrow, great artists steal." Indeed, American artist George Condo frequently cites Picasso as an explicit source in his contemporary cubist compositions and joyous use of paint. Condo is known for neo-Modernist compositions staked in wit and the grotesque, which draw the eye into a highly imaginary world. 

    Condo came up in the New York art world at a time when art favored brazen innuendo and shock. Student to Warhol, best friend to Basquiat and collaborator with William S. Burroughs, Condo tracked a different path. He was drawn to the endless inquiries posed by the aesthetics and formal considerations of Caravaggio, Rembrandt and the Old Masters.

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The Beatles

Silkscreen on canvas.
60 x 60 in. (152.4 x 152.4 cm).
Signed, titled and dated “Condo The Beatles 99” on the reverse.

£20,000 - 30,000 

Sold for £24,000

Contemporary Art

22 June 2007, 4pm & 5pm