Invocations Of Miles
Invocations Of Miles
Signed Print
George Condo
£4,750-£7,000Value
Indicator
$9,000-$13,500 Value Indicator
$8,000-$12,000 Value Indicator
¥45,000-¥60,000 Value Indicator
€5,500-€8,000 Value Indicator
$45,000-$70,000 Value Indicator
¥910,000-¥1,340,000 Value Indicator
$6,000-$9,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 50
Year: 2000
Size: H 114cm x W 75cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2021 | Sotheby's Online - United Kingdom | Invocations Of Miles - Signed Print | |||
| April 2015 | Phillips New York - United States | Invocations Of Miles - Signed Print |
Meaning & Analysis
George Condo’s signed screen print, Invocations Of Miles, was produced in 2000 in an edition of 50. The work depicts several abstract, nude figures in one composition. The screen print also incorporates splashes of colour, including red, orange, and yellow accents.
Invocations Of Miles, a screen print made by George Condo in 2000, may be understood as a further exploration of his elusive approach to portraiture. Produced at the turn of the century, this work includes several nude figures. Many do not have faces and the expressions of others are minimal. Condo described this work as an expression of “Artificial Realism”. What he meant by this was that he sought to depict reality through an ostensibly abstract lens.
This work builds on the themes that Condo introduced to his oeuvre in the clown works of the 1980s. One reading of Invocations of Miles is that it is a group portrait. However, the individual characteristics of the figures that Condo represents are elusive. Instead, the emotive and expressive effect of the composition is what creates atmosphere in the work. Therefore, this work may be understood as relating to Condo’s own concept of the imaginary portrait. He sought, through this approach, to create a new concept for portraiture: one that focussed less on the specific features and characteristics of the sitter, instead using memory to construct the portrait.