Jake & Dinos Chapman, ‘Paul, Jake, Dinos, George (Freak Blood)’, 2006, Phillips: Evening and Day Editions (June 2017)

Property Subject to the Artist's Resale Right (see Conditions of Sale for further information)

Image: 117 x 83 cm (46 1/8 x 32 5/8 in.)
Sheet: 135.5 x 99.5 cm (53 3/8 x 39 1/8 in.)

Signature: An unsigned and unnumbered impression (the edition was 8, some with hand-colouring), published by Deitch Projects, New York and RS&A, London, framed.

Jake and Dinos Chapman, George Condo and Paul McCarthy were invited by London Arts Agency, RS&A, to collaborate on the creation of eight paintings and a set of etchings over a period of one year. The project commenced in March 2006 with two canvases and one etching plate being delivered to each of the artist's studios. The artists were each given a month to work on the three pieces before their canvases and the worked-up etching plate were collected and rotated to the next artist in a pre-arranged sequence. Each canvas and etching plate rotated four times in total so that each participating artist had the chance to be first, second, third and fourth in the sequential make-up of a single painting and etching plate. The title of the present work relates to the order in which the artists worked on this plate.

About Jake & Dinos Chapman

Young British Artists Jake and Dinos Chapman create iconoclastic sculptures, prints, and installations that examine contemporary politics, religion, and morality with searing wit. They first gained recognition with their first solo installation, We Are Artists (1992), in which they stenciled an anti-aesthetic manifesto onto a mud-splattered wall at the Institute of Contemporary Art (ICA) in London. From their etchings of Goya-esque piles of body parts to naked child mannequins whose facial features are replaced with genitalia, the Chapman brothers explore the poles of beauty and pain, humor and horror, the sublime and perverse, the diabolical and the infantile, in ways that shock and confront viewers with their own voyeurism.

British, 1966 and 1962, London, United Kingdom, based in Filkins, United Kingdom

Exhibition Highlights On Artsy

2017
Contemporary Magic, The Untitled Space, New York
2016
Back to the end of the beginning of the end again., Jake & Dinos Chapman, 6 Rue du Ponte de Lodi
2014
Jake and Dinos Chapman: Come, Hell or High Water, David Risley Gallery, Copenhagen NW
2014
New Editions By Jake and Dinos Chapman, Edition Copenhagen, København
2014

About Paul McCarthy

Paul McCarthy is recognized for his provocative, some would say tasteless, performances, multi-media installations, and sculptures that irreverently fuse high and low culture in their biting but humorous critique of American mythology and accepted societal norms. Santa Claus porn videos, Hummel figurine parodies, and chocolate butt plugs are among McCarthy’s most well known pieces. For Train, Mechanical (2003-09), McCarthy created a pair of larger-than-life animated sculptures of George W. Bush mounting pigs from behind. “I'm interested in caricatures—from Miss Piggy to Popeye to Santa Claus—that are cultural fabrications,” McCarthy explains. “Santa is one that I've hung on to longer, that I repeat more. There's the whole thing of Christmas and consumption and commodity, and its relationship to capitalism and Western culture and Americana. The character itself is this roly-poly patriarch with a beard—almost a godlike figure.”

American, b. 1945, Salt Lake City, Utah, based in Los Angeles, California

Group Shows on Artsy

2016
5 Years at Heddon Street, Pippy Houldsworth Gallery, London
2016
LAX 1992 Revisited (Edition), Galerie Krinzinger, Vienna
2013
The Art of Chess, NextLevel Galerie, Paris

About George Condo

George Condo’s work is populated by a cast of characters whose bulging eyes, bulbous cheeks, proliferating limbs, and hideous over- and under-bites set them apart as a singular species. Drawing on vastly diverse painting practices—like Pablo Picasso, Diego Velázquez, Henri Matisse, and Cy Twombly—Condo absorbs a vast range of art-historical sources, yet, at the same, creates a pictorial language characteristically his own, one that investigates the macabre, the carnivalesque, and the abject. He calls his surrealistic style “psychological cubism”, exploiting “our own imperfections—the private, off-moments or unseen aspects of humanity—that often give way to some of painting’s most beautiful moments.” Even Condo’s most abstract works, like Internal Space (2005) with its impenetrable geometric scaffolding of forms radiating from the painting’s center, explore the furthest extremes of the human psyche.

American, b. 1957, Concord, New Hampshire, based in New York, New York

Exhibition Highlights On Artsy

2017
George Condo: The Way I Think, Phillips Collection, Washington
2017
An Uncanny Likeness, Simon Lee Gallery, New York
2016
Biennial of Painting: Yoknapatawpha, Museum Dhondt-Dhaenens, Deurle
2014
George Condo HEADSPACE, Simon Lee Gallery, London

Solo Shows on Artsy

2017
George Condo: The Way I Think, Phillips Collection, Washington
2014
George Condo HEADSPACE, Simon Lee Gallery, London

Group Shows on Artsy

2017
Pop Goes Charlotte!, New Gallery of Modern Art, Charlotte
2017
An Uncanny Likeness, Simon Lee Gallery, New York
2016
BLACK'N'WHITE, Galerie Andrea Caratsch, St. Moritz
2016
Biennial of Painting: Yoknapatawpha, Museum Dhondt-Dhaenens, Deurle
2015
MUTATED REALITY, Gary Tatintsian Gallery, Moscow
View Artist's CV