George Condo:The Point Of Artificial Realism

George Condo calls his painting practice "Artificial Realism," and the creatures created by George Condo during 1994-1996 through "Artificial Realism" continue to appear in George Condo’s paintings today.Therefore,how did the creatures created by George Condo during the 1994-1996 period of "Artificial Realism" come to fruition,and what do these creatures suggest that "Artificial Realism" points to?This is the fundamental question that cannot be avoided in the study of George Condo’s "Artificial Realism" paintings.By chasing the origins of George Condo’s "Artificial Realism," this paper clarifies the definition of George Condo’s "Artificial Realism," which allows painter for the use of the past painting technique to depict artificial things in reality.The use of the past painting technique comes from the Boston-born George Condo’s deep fascination with the painting techniques of the European Old Masters.The depiction of the artificial in reality was inspired by George Condo’s involvement with Andy Warhol’s prints factory in New York.Through a study of the development of "Artificial Realism," it becomes clear that George Condo’s work was inspired by the literary leaders of the "Beat Generation",William Burroughs and Allen Ginsberg,in the light of Beat literature.In the period 1994-1996,George Condo created "Faceless creatures","Faced Creatures" and "Antipodal Beings".The "Faceless creatures" point to the "Artificial Realism" response to the absurdity of human alienation by man-made objects.The "Faced Creatures" point to the "Artificial Realism" metaphor and prophecy of the tension between human beings and man-made technological objects.The "Antipodal Beings" points to "Artificial Realism’s" warning about the phenomenon of human beings being regulated and dominated by various artificial objects,words or logic,It also shows that "Artificial Realism" expects human beings to constantly look inwardly at themselves,so as to start a infinite exploration of their potential.