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Ed Paschke

Curated by: Jeff Koons

March 18–April 24, 2010
980 Madison Avenue, New York

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons Installation view, photo by Rob McKeever

Ed Paschke, Curated by Jeff Koons

Installation view, photo by Rob McKeever

Works Exhibited

Ed Paschke, Pink Lady, 1970 Oil on canvas, 64 ¾ × 51 ¼ inches (164.5 × 130.2 cm)

Ed Paschke, Pink Lady, 1970

Oil on canvas, 64 ¾ × 51 ¼ inches (164.5 × 130.2 cm)

Ed Paschke, Mandrix, 1977 Oil on canvas, 70 × 48 inches (177.8 × 121.9 cm)

Ed Paschke, Mandrix, 1977

Oil on canvas, 70 × 48 inches (177.8 × 121.9 cm)

Ed Paschke, Banjo Man, 1978 Oil on canvas, 68 × 46 inches (172.7 × 116.8 cm)

Ed Paschke, Banjo Man, 1978

Oil on canvas, 68 × 46 inches (172.7 × 116.8 cm)

Ed Paschke, Gestapo, 1979 Oil on canvas, 30 × 46 inches (76.2 × 116.8 cm)

Ed Paschke, Gestapo, 1979

Oil on canvas, 30 × 46 inches (76.2 × 116.8 cm)

Ed Paschke, Dystonia, 1981 Oil on canvas, 42 × 82 inches (106.7 × 208.3 cm)

Ed Paschke, Dystonia, 1981

Oil on canvas, 42 × 82 inches (106.7 × 208.3 cm)

Ed Paschke, Velveteen, 1973 Colored pencil on paper, 22 × 18 inches (55.9 × 45.7 cm)

Ed Paschke, Velveteen, 1973

Colored pencil on paper, 22 × 18 inches (55.9 × 45.7 cm)

About

Central to my work is what I refer to as the law of opposites; I believe that there are polarities between things […] Positive/negative, the idea of pacing a painting in terms of complexity and simplicity, the idea of public versus private, are elements that have always interested me and that I've always tried in some way to build into the character of the paintings.
Ed Paschke

Ed Paschke taught me what it meant to be a professional artist. His paintings are like drugs, but in a good way: they are among the strongest physical images that I've ever seen. Their effect is neurological.
Jeff Koons

Gagosian Gallery is pleased to present an exhibition of the work of Ed Paschke, curated by Jeff Koons. As a student, Koons admired Paschke's work and became his assistant in Chicago in the mid-1970s while attending the School of the Art Institute of Chicago. Paschke would prove to be an important mentor and formative inspiration for the young artist. The exhibition includes loans from key public and private collections in the U.S. and abroad, as well as rarely seen works from the Ed Paschke Foundation.

Born in Chicago in 1939, Paschke studied at the School of the Art Institute of Chicago during the height of the Imagist movement in the late fifties, while supporting himself as a commercial artist. He avidly collected photograph-related visual media in all its forms, from newspapers, magazines, and posters to film, television, and video, with a preference for imagery that tended toward the risqué and the marginal. Through this he studied the ways in which these media transformed and stylized the experience of reality, which in turn impacted on his consideration of formal and philosophical questions concerning veracity and invention in his own painting. At the same time, he sought living and working situations—from factory hand to psychiatric aide—that would connect him with Chicago's diverse ethnic communities as well as feed his fascination for gritty urban life and human abnormality. Thus he developed a distinctive oeuvre that oscillated between personal and aesthetic introspection and confronting social and cultural values.

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