Marie luise lebschik biography of donald

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  For all their copious references, Condo’s paintings are not quotations, pastiches or appropriations. They are products of a painterly project that mines the history of art while simultaneously challenging the justification for contemporary painting. The historically coded, painterly idioms he uses extend from the religious light of the Baroque to the iridescent tones of Florentine cangiante, to techniques he finds in Dürer, Rembrandt or Caravaggio. There is also the vocabulary of modernism and abstraction—echoes of de Kooning’s lines, Matisse’s colors and, of course, Picasso. Yet regardless of the formal vocabulary he uses, be it Old Masters or abstraction, Condo’s choice of subject systematically destroys familiar pictorial structures and demolishes the painting’s semantic field. His oeuvre is like a wild, technically brilliant art historical delirium that reconfigures past and present in a complex synthesis. He himself has termed this process “Artificial Realism.”

  Condo’s career encompasses not only a variety of formal vocabularies, but also a variety of media, including collage, drawing, and sculpture. Time and again he has returned to the medium of drawing to not only shed new light on the territory between the abstract and the figurative, but also to disrupt preconceiv

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  The first thing one notices in Pirgelis’s works is their subtle play with the aura of his found materials—materials that could both be considered industrial waste products or civilizational fragments. Larger than life metal objects lean against the walls like strange relics. Large-scale wall works with scratches, traces of paint and varnish have the look of heavy paintings. Floorboards with drilled holes and traces of carpet recall sections of a heavily used studio floor.

  Pirgelis makes surprisingly small changes to the materials he finds, leaving the painted surfaces of most of his objects as he found them. He sometimes sands and polishes certain sections, partially removes logos and lettering or exposes rivet patterns. But essentially, the viewer bears witness to a surface marked by signs of wear and weather, by the sun and desert storms over the aircraft cemeteries. These are complex aesthetic surfaces with obvious painterly references, and the artist presents the objects as a form of found abstraction.

  Pirgelis’s works derive their forceful presence from a fundamental self-questioning. The objects are not invented or produced, or even labeled in any way by the artist. Nor are they readymades in a strictly post-Duchampian sense, since the objects’ material and form have b

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