With his arresting, unsettling style, George Condo emerged out of the dynamism of the New York art scene in the early 1980s, and he has been restlessly painting, drawing and sculpting – bringing forms into the world in one way or another – ever since. Reliably inconsistent, Condo's references and inspirations, in both style and content, ricochet deliriously around the canon of western art history. Somewhere between his fake Tiepolos, reconfigured Manets, impossibly intricate paintings that seem to be abstract until you get up close, his perpetually screaming cubist hags, and the orgiastic misdemeanours of Rodrigo, Condo has invented, mastered, and expanded not just one painterly language but the whole lexicon. Working closely with the artist, writer and art historian Simon Baker has combined biographical, chronological, and thematic approaches to survey George Condo's work and career to date. An introductory essay on Condo's contradictory nature and a chapter exploring his early career are followed by three thematic chapters that look at the years from 1984 to the present, tracing Condo's different systematic approaches to the language of painting, exploring his relationship to the concept of abstraction, and probing the darker side of his psychological iconography.

乔治·康多（George Condo）以其引人注目、令人不安的风格，在20世纪80年代初纽约艺术界的活力中脱颖而出，此后他一直不停地绘画、素描和雕塑，用不同方式将形式带入世界。康多在风格和内容上的参考和灵感不一致，都在西方艺术史留下浓墨重彩的一笔。在他的假名作和混合绘画中，在那永远尖叫的立体派女巫和罗德里戈放荡不羁的行为中，康多已经发明、掌握并扩展了不仅是一种绘画语言，而是整个词汇表。作家和艺术史家西蒙·贝克（Simon Baker）与艺术家密切合作，将传记、年表和主题方法结合起来，调查乔治·康多的作品和迄今为止的职业生涯。本书包括一篇关于康德的矛盾性的介绍性文章和探索他早期职业生涯的章节，然后是三个主题章节，从1984年到现在，追溯康多对绘画语言的不同系统方法，探索他与抽象概念的关系，并探究他的心理图腾的黑暗面。