text:
Development & Renovation
Brian Turner | CC BY-SA 2.0
Nursing Home Operators Face Uphill Battle Against Lawsuits in Kentucky
By Maggie Flynn | March 20, 2018
Kentucky took a tentative step toward tort reform by implementing a medical review panel law last year, but its most recent attempt faces a significant uphill battle in a state that has seen major skilled nursing operators blame lawsuits for struggles in recent months.
The goal of Senate Bill 2, sponsored by a group of Republican state senators, is to limit damages for noneconomic injuries in lawsuits. But to accomplish that, it'll have to first amend the state constitution.
That could make it a long time before skilled nursing and long-term care providers see relief from the lawsuits that have already rumbled the sector in Kentucky, ranging from Signature HealthCARE's troubles to Preferred Care's bankruptcy last year.
"One of the things that makes Kentucky really challenging is that when the plaintiffs' lawyers there had considerable power in the legislature, they were able to get the legislature to put in the constitution that there cannot be caps on personal injury claims," American Health Care Association president and CEO Mark Parkinson told Skilled Nursing News. "So the constitution prevents the legislature from enacting laws that have caps. The only way the Kentucky situation is going to ultimately be fixed is through a constitutional amendment, which is much harder than just getting a law passed. So the tort challenge in Kentucky is really, really difficult."
KY a liability outlier
Kentucky, along with West Virginia and Florida, is an outlier in terms of how much it costs a long-term care (LTC) facility to defend and settle liability claims, according to the Aon Risk Solutions' 2017 LTC General Liability and Professional Liability Actuarial Analysis. The cost of defending and settling cases per bed, or the loss rate, has been growing in the state over the past decade. In 2007, Kentucky had a loss rate of $1,480 per occupied bed; in 2017, that number had risen to $6,410 per occupied bed.
From 2016 to 2017, insurance rates rose from about $2,300 per bed to more than $3,300 per bed, the Kentucky Association of Health Care Facilities (KAHCF) told SNN in an e-mail.
"We had one member tell us that premiums went up almost 200%, and he has no active claims against his facility," KAHCF president Betsy Johnson told SNN.
With SNFs already facing razor-thin margins in the U.S. as a whole, the cost of insurance premiums creates another hurdle for providers. The issue is exacerbated by the fact that many of the states that border Kentucky have passed tort reform, Lynn Fieldhouse, general counsel, litigation risk services at Louisville, Ky.-based Signature HealthCARE, told SNN.
Setting a cap on the damages that could be recovered for non-economic injuries allows providers to insure against a firm number, Parkinson said, citing Texas and Massachusetts as examples.
"When you have states that have no caps like Kentucky, it's impossible to manage it," he said. "You can't insure against infinity."
Large verdicts
Signature has been attempting to grapple with multiple lawsuits in this environment. The company recently sold a highly-rated SNF because of the lawsuits brought against the facility, and it has blamed its recent financial struggles in part on medical malpractice suits.
Fieldhouse pointed to the significant amounts recently awarded to those who have filed lawsuits against providers.
"If you look at other states who, for example, have caps for the amount of damages you can recover if you're injured — those types of things would certainly help curtail some of the recent nursing home jury verdicts that we've seen in Kentucky," she said.
She cited the $28 million verdict against the Preferred Care facility in Kentucky as an example.
LeadingAge Kentucky president and CEO Timothy Veno echoed those concerns.
"We've seen some pretty hefty jury awards in Kentucky over the past several years," which have contributed to increased insurance rates for SNFs and long-term care facilities in the state, Veno noted.
In addition to the material hit, the lawsuits are demoralizing for everyone at a skilled nursing facility, Fieldhouse said. But the monetary impact is notable for its potential to be fatal for a nursing home.
"The industry… in my opinion is close to rock bottom," she explained. "There are so many things that are going on that are making it tougher and tougher for providers to survive. Certainly not many providers I'm aware of could survive a hit like that."
Written by Maggie Flynn
AHCA, Kentucky Association of Health Care Facilities
Maggie Flynn
When she's not working, Maggie enjoys running, reading, writing and sports, in no particular order. Favorite things include murder mysteries, Lake Michigan and the Pittsburgh Penguins.
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Moorestown gave up the game's first goal and went on to defeat the undefeated Redbirds of Allentown 15-3 after a slow first half.
Moorestown dominated draw control 13-6 and limited their turnovers to only three while playing 22 girls against the Mercer County foe. Robin Panzarella led the attack with four goals and an assist while Kacey Knobloch, Colette Smith and Ava Frantz collected two apiece. The latter three also had an assist each. In all, nine different Quakers scored on 35 shots.
The defense was suffocating limiting Allentown's shots, giving away a first minute goal and a tipped stick goal that snuck by Emily Toft, who had four saves. Cailin Field dominated with five draws and Kayla Frank added four.


text:
<?php

namespace ImboIntegrationTest\Image\Transformation;

use Imbo\Image\Transformation\Transpose,
    Imagick;

/**
 * @covers Imbo\Image\Transformation\Transpose
 * @group integration
 * @group transformations
 */
class TransposeTest extends TransformationTests {
    /**
     * {@inheritdoc}
     */
    protected function getTransformation() {
        return new Transpose();
    }

    /**
     * @covers Imbo\Image\Transformation\Transpose::transform
     */
    public function testCanTransformImage() {
        $image = $this->createMock('Imbo\Model\Image');
        $image->expects($this->once())->method('hasBeenTransformed')->with(true)->will($this->returnValue($image));

        $imagick = new Imagick();
        $imagick->readImageBlob(file_get_contents(FIXTURES_DIR . '/image.png'));

        $this->getTransformation()->setImage($image)->setImagick($imagick)->transform([]);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Massive open star clusters using the VVV survey I. Presentation of the data and description of the approach
Majaess, Daniel J.; Chene, A.-N.; Borissova, J.; Clarke, J. R. A.; Bonatto, C.; Bidin, C. Moni; Sale, S. E.; Mauro, F.; Kurtev, R.; Baume, G.
Context. The ESO Public Survey "VISTA Variables in the Vía Láctea" (VVV) provides deep multi-epoch infrared observations for unprecedented 562 sq. degrees of the Galactic bulge, and adjacent regions of the disk. Aims. The VVV observations will foster the construction of a sample of Galactic star clusters with reliable and homogeneously derived physical parameters (e.g., age, distance, and mass, etc.). In this first paper in a series, the methodology employed to establish cluster parameters for the envisioned database are elaborated upon by analysing four known young open clusters: Danks 1, Danks 2, RCW 79, and DBS 132. The analysis offers a first glimpse of the information that can be gleaned from the VVV observations for clusters in the final database. Methods. Wide-field, deep JHK[subscript s] VVV observations, combined with new infrared spectroscopy, are employed to constrain fundamental parameters for a subset of clusters. Results. Results are inferred from VVV near-infrared photometry and numerous low resolution spectra (typically more than 10 per cluster). The high quality of the spectra and the deep wide–field VVV photometry enables us to precisely and independently determine the characteristics of the clusters studied, which we compare to previous determinations. An anomalous reddening law in the direction of the Danks clusters is found, specifically E(J − H)/E(H − K[subscript s]) = 2.20 [plus or minus] 0.06, which exceeds published values for the inner Galaxy. The G305 star forming complex, which includes the Danks clusters, lies beyond the Sagittarius-Carina spiral arm and occupies the Centaurus arm. Finally, the first deep infrared colour-magnitude diagram of RCW 79 is presented, which reveals a sizeable pre-main sequence population. A list of candidate variable stars in G305 region is reported. Conclusions. This study demonstrates the strength of the dataset and methodology employed, and constitutes the first step of a broader study which shall include reliable parameters for a sizeable number of poorly characterised and/or newly discovered clusters.
Infrared astronomy
Astronomical photometry

redpajama_set_name: RedPajamaCommonCrawl


Monitoring the Genotoxic and Cytotoxic Potential and the Presence of Pesticides and Hydrocarbons in Water of the Sinos River Basin, Southern Brazil.
The Sinos River is one of the most polluted rivers in Brazil. The purpose of this work was to monitor the presence of some pesticides and hydrocarbons as well as the genotoxic and cytotoxic potential on HEp-2 cells from water samples collected at seven sites in the Sinos River Basin (SRB), southern Brazil. Nine samples were taken from the three main rivers in the SRB and used as a solution to dilute the HEp-2 cell culture medium after microfiltration. Twenty-four pesticides and 19 hydrocarbons were measured. Cytotoxicity was assessed by methyl thiazolyl tetrazolium (MTT) and neutral red (NR) assays, in which cells were exposed to different concentrations of the water samples for 24 h. Genotoxicity of the microfiltrated raw water samples was assessed by comet assay after 6 and 24 h of exposure. Among the chemicals analyzed, only the 2,4-D, dichloromethane, tetrachloroethene, chloroform, bromodichloromethane, styrene, and toluene were detected, but they were all lower than the limit established by Brazilian regulations. Twenty samples from a total of 60 had a cytotoxic effect in the MTT assay and 30 in the NR assay. The comet assay indicated the presence of genotoxic substances in the water at the seven locations monitored. Temporal and spatial variation was observed inthe cytotoxicity and genotoxicity assays. Results indicated that the water in all stretches of the SRB is contaminated and it can cause harmful effects to humans and to the aquatic biota. This HEp-2 cell-line approach can be an additional tool for environmental monitoring.


text:
Oldenswort () ist eine Gemeinde im Kreis Nordfriesland in Schleswig-Holstein.

Geographie

Geographische Lage
Das Gemeindegebiet von Oldenswort erstreckt sich nordwestlich des letzten Eiderbogens vor dessen Mündungstrichter bei Tönning im Naturraum Eiderstedter Marsch.

Gemeindegliederung
Neben dem Kirchdorf gleichen Namens, befinden sich auch die Wohnplätze Altendeich, Hemmerdeich, Süderdeich, Osterende und Hochbrücksiel im Gemeindegebiet.

Nachbargemeinden
An Oldenswort direkt angrenzende Gemeindegebiete sind:

Geologie
Das Gemeindegebiet ist Teil des Naturraum Eiderstedter Marsch. Dieser Bereich wurde bereits im 12. Jahrhundert mit einem 1,5 Meter hohen Sommerdeich umgeben. Jüngere angrenzende Eindeichungen im Gemeindegebiet sind der Süderfriedrichskoog, welcher 1613 bedeicht wurde, sowie der Harbleker Koog von 1612, respektive der zwischen 1766 und 1805 von letztgenanntem durch einen Sommerdeich abgetrennte Tetenskoog. Typisch für diesen Landschaftstyp ist das, abgesehen von den das Gebiet schützenden eingrenzenden Deichen, absolut flache Relief.

Geschichte
Der Name Oldenswort leitet sich möglicherweise vom Namen Olde Warft (auf Hochdeutsch: alte Warft) ab. Eine ausgeprägte Siedlungstätigkeit begann erst etwa um das Jahr 1000. Oldenswort war schon lange bekannt und erhielt schon früh die Fleckengerechtigkeit, die der Ort 1800 wieder verlor. Im Jahr 1205 wurde der Ort erstmals erwähnt. 1252 landete König Abel von Dänemark bei der Kapelle, um gegen die Eiderstedter, die ihm nicht huldigen wollten, Krieg zu führen. Der Krieg endete für König Abel mit einer Katastrophe, wie Helmold von Bosau in seiner Chronik beschreibt: "Er fiel mit einem Großteil seines Heeres".

In der Zweiten Marcellusflut erlitt Oldenswort schwere Schäden. Als 1415 und 1416 die Dithmarscher einfielen, wurde der Ort verwüstet und brannte nieder. Als die Kaiserlichen während des Dreißigjährigen Kriegs das Land verwüsteten, war auch Oldenswort betroffen. Im Laufe der Nordischen Kriege wurde die Stadt Tönning 1713 belagert, was auch negative Folgen für den Ort hatte. In dem gleichen Jahr gab es eine Konvention zwischen Peter dem Großen und Friedrich IV. von Dänemark und Norwegen. Im Jahre 1784 brannte ein großer Teil des Fleckens nieder, wurde aber bald wieder aufgebaut. Später verloren viele Einwohner ihr Hab und Gut durch den dänischen Staatsbankrott 1815, in dessen Folge das Gemeindegebiet um fast die Hälfte schrumpfte.

Politik

Gemeindevertretung
Bei den Kommunalwahlen am 6. Mai 2018 erhielt die SPD 45,3 % der abgegebenen Stimmen und sechs Sitze (+1), die CDU errang mit 31,2 % vier Sitze (±0). Auf die WVO entfielen 23,5 % und damit drei Sitze (−1). Die Wahlbeteiligung betrug 64,3 Prozent.

Bürgermeister
Für die Wahlperiode 2013–2018 wurde Frank-Michael Tranzer (SPD) erneut zum Bürgermeister gewählt. Seine dritte Amtsperiode begann im Juni 2018.

Wappen
Blasonierung: "Von einer goldenen Ähre mit nach außen gebogenen Hüllblättern in Blau und Rot geviert. In 1 eine goldene Kirche, in 4 ein goldener Dreimaster."

Verwaltung
Die Gemeinde wird vom Amt Eiderstedt mitverwaltet.

Sehenswürdigkeiten

Oldensworter Kirche

Die aus Backstein erbaute Oldensworter Kirche St. Pankratius geht auf einen romanischen Bau zurück, der wohl im 12. Jahrhundert errichtet wurde. Sie hat eine hölzerne Kassettendecke. Die Ausstattung stammt überwiegend aus dem 16. Jahrhundert. Rechts von ihr steht unterhalb des Kirchhofs die "Wilhelmseiche", gepflanzt 1897 zur Erinnerung an den 100. Geburtstag von Kaiser Wilhelm I. Seit 2017 ist die Kirche wegen Baufälligkeit geschlossen. 2022 beginnt die Renovierung.

Herrenhaus Hoyerswort

In Oldenswort befindet sich Eiderstedts einziges Herrenhaus, Hoyerswort (Lage:). Es handelt sich um einen zweiflügeligen Bau der Renaissance mit einem Treppenturm, der von einem doppelten Wassergraben umgeben ist. Im 16. Jahrhundert wurde es vom königlich dänischen Staller (Statthalter) Caspar Hoyer gebaut, von dem es auch seinen Namen hat. Seine Schwiegertochter Anna Ovena Hoyer versammelte dort eine von den Ortsgeistlichen als häretisch angesehene Gemeinde. 1632 verkaufte sie das Herrenhaus an Augusta von Dänemark, die Witwe des Herzogs Johann Adolf. In der Folgezeit wechselte das Haus mehrfach den Besitzer, so gehörte es 1656–1679 dem herzoglichen Kammerrat Andreas Cramer. 1713 nahm dort der dänische König Friedrich IV. die Kapitulation der in der Festung Tönning stationierten schwedischen Truppen unter Magnus Stenbock im Großen Nordischen Krieg entgegen, womit der Krieg faktisch entschieden war. Das Gut gelangte nach wechselnden Eigentümern im Jahr 1771 in das Eigentum der Familie Hamkens, in dem es bis zum Jahr 2011 verblieb.

Tönnies-Denkmal
In Oldenswort steht seit 1990 ein Bronzedenkmal von Raimund Kittl des dort – auf dem mittlerweile untergegangenen Haubarg De Riep – geborenen Ferdinand Tönnies, des Begründers der deutschen Soziologie.

Mühle Catharina
Die unter Denkmalschutz stehende Holländerwindmühle (Lage:) wurde 1786 als Erdholländer-Mühle erbaut. 1886 wurde der Aufbau an Flaschenzügen hochgezogen, um darunter einen Mauerwerksockel zu errichten. Die Mühle Catharine ist damit eine Bergholländermühle. Erst in den 1970er Jahren wurde der Mahlbetrieb eingestellt. Nach der Restaurierung wird sie als Ferienhaus genutzt. Durch das Sturmtief Herwart wurden in der Nacht zum 29. Oktober 2017 Dach und Flügel abgerissen. Im Juni 2018 wurde die wiederhergestellte Haube mit den Flügeln wieder aufgesetzt.

Verkehr
Im motorisierten Individualverkehr führt die Bundesstraße 5 nördlich von Tönning durch den östlichen Bereich des Gemeindegebiets. Die gemeindliche Dorflage wird über die von ihr nach Westen abzweigende Landesstraße 36 erreicht.

Im Öffentlichen Personennahverkehr wird das Gemeindegebiet von der Bahnstrecke Husum–Bad St. Peter-Ording gequert. Der gemeindliche Haltepunkt lautet Harblek und befindet sich bei der gleichnamigen Siedlung im östlichen Außenbereich. Es ist ein Bedarfshalt. Die Distanz vom Bahnhof ins Dorf beträgt gut zwei Kilometer. Die genannte Bahnstrecke wird von der Regionalbahn 64 im Nahverkehrsverbund Schleswig-Holstein regulär im Stundentakt angefahren.

Persönlichkeiten

Söhne und Töchter der Gemeinde
 Matthias Knutzen (1646–nach 1674), Religionskritiker, erster namentlich bekannter Atheist der europäischen Neuzeit
 Philipp Gabriel Hensler (1733–1805), Arzt und Professor für Medizin
 Gert Tönnies (1851–1928), Reichstags- und Landtagsabgeordneter
 Ferdinand Tönnies (1855–1936), Soziologe, Nationalökonom und Philosoph
 Jan Hamkens (1863–1918), Maler, Grafiker und Buchillustrator
 August von Thomsen (1864–1920), als Admiral Chef der Marinestation der Nordsee der kaiserlichen Marine
 August Geerkens (1874–1964), Landwirtschaftsdirektor, Heimatforscher, Schriftsteller und Museumsleiter
 Carsten Kühl (1887–1964) Maler, Bildhauer und Heimatforscher
 Carl Wilhelm Hugo Hamkens (1883–1962), nationalsozialistischer Landrat und Regierungspräsident
 Eduard Clasen (1901–1985), deutscher Politiker (SPD), MdL (Schleswig-Holstein)

Weitere Persönlichkeiten
 Adolph Theodor Thomsen (1814–1891), deutscher Politiker des Herzogtums Schleswig war Mitglied des Reichsrates zu Kopenhagen und Abgeordneter des Preußischen Abgeordnetenhauses. Ab 1855 war er Lehnsmann in Oldenswort.
 Thusnelda Kühl (1872–1935), lebte lange in Oldenswort und verfasste Romane, die in Oldenswort und Umgebung spielen.

Literatur
 Hasso Reschenberg: Oldenswort. Ein Dorf mit Geschichte. Husum Druck- und Verlagsgesellschaft, Husum 1996, ISBN 978-3-88042-788-4.

Weblinks

 Gemeinde Oldenswort beim Amt Eiderstedt
 Private Website über Oldenswort
 Website der AG Ortschronik des Ortskulturring Oldenswort

Einzelnachweise

Ort im Kreis Nordfriesland
Ort in Südschleswig
Eiderstedt

Ersterwähnung 1205

redpajama_set_name: RedPajamaWikipedia


text:
Ed Paschke
Growing Up Chicago
Artistic Leanings
Professional Evolution/Timeline
Selected Group Exhibitons
Ed Paschke on becoming an artist:
"My father was my first art teacher. His influence began when my brother Richard and I were very young and impressionable. The magic usually occurred after dinner or on Sunday afternoons while sitting around the kitchen table. Using modeling clay or drawing materials Dad would entertain and inspire us by creating birds, animals and human heads with exaggerated personalities. These performances became contagious. Soon we were imitating his colorful inventions and creating our own cast of characters.""Seeing the Disney classic "Snow White and the Seven Dwarfs" inspired Dad to build a toy box featuring his paintings of Grumpy and Doc. When I saw it I thought my father was, in fact, the real Walt Disney. It was one of many crystallizing experiences that helped lead me down the path toward my own life as an artist."
"I like a lot of color. When I was a kid, I always found fireworks really fascinating. The way that firecrackers are packaged. The circus too. The heightened sense of reality and the total spectacle of it."
"I was a very introverted individual and this became an important outlet for me to express myself, to communicate, to take positions, make statements, take a stand and so forth. But I never really thought I had much a future at all . . . So the thing that I had to do was to really go inward and really work super hard in the hope that someday it would pay off. And in using that term I don't mean necessarily money, but just the fact that I would have more depth and dimension both as a human being and as an artist."
Edward Francis Paschke, Jr., is born June 22 at St. Elizabeth's Hospital in Chicago, the second son of Waldrine and Edward Stanley Paschke; his brother, Richard is two years his senior. The Catholic family resides in a middle-class neighborhood on the northwest side of Chicago (near Central Park and Diversey), where Edward Stanley drives a bakery truck.
His father serves with the U.S. occupation forces in Germany following World War II; Paschke is fascinated by the Thurberesque cartoons decorating the letters his father mails home. On his father's return home, father and son work together crafting small objects in clay and wood; remembered especially is a créche decorated with colored lights. The family moves a half-mile north, near Belmont and Milwaukee avenues. Paschke attends public school. He is particularly awed by Walt Disney's film Snow White and the Seven Dwarfs and sends a collection of his cartoons to the Disney Studios; they respond with an encouraging letter of rejection: he is "too young."
The family moves to a 160-acre farm in Lyndon Station, Wisconsin, population four hundred (approximately ten miles north of the Wisconsin Dells). Only four acres are used for raising crops, chickens, and turkeys; Paschke's father is employed building a dam on the Wisconsin River. Paschke feels "different" from the other children in his rural school.
The family returns to Chicago and resides with Paschke's grandmother and uncles. He watches wrestling matches on television; the painting Red Ball (1971), depicting the Italian fighter "Little Flower," recalls this exposure. Paschke's parents buy a house near the intersection of Addison Street and Harlem Avenue; Paschke attends the local public school. His father and uncles construct a house in Mount Prospect; it remains unsold, so Paschke's father buys it himself and moves his family to the suburbs in the early spring of 1953. Paschke finishes eighth grade in the city.
As a student at Arlington Heights High School, Paschke struggles through academic classes but excels in art and athletics. Although he does not play on the school team, he creates a highly praised series of cartoon strips on football players. Personally, he longs for tough and sophisticated urban surroundings. He engages in minor acts of delinquency; the breaking of a food store's plate-glass window results in a job bagging groceries to compensate for damages. Upon graduation from high school, he takes a job with a wrapping-paper factory in Bellwood. Paschke is intrigued by the flamboyant dress and "macho" conversations in Spanish of the Latino factory workers. He plays on their baseball team as pitcher.
Ed's earliest exposure to pop art and pop culture images did not begin as a starving artist in New York in the 1960s. He became immersed in comic strips and drawing very early in his life. It was a Sunday morning ritual to listen to his dad reading the comics out loud while lying on the living room floor. Later, Ed devoured the Sunday Chicago Tribune and Sun Times comics on his own, not so much for the story lines themselves, but because he was particularly attracted to the drawing styles used in Prince Valiant and Tarzan of the Apes. Ed himself began to show signs of promise as a draftsman at this time. He was a fan of Burne Hogarth's drawings, then, and throughout his life. (It is an interesting coincidence that Hogarth began his career at the Chicago Art Institute as a preteen and was a skilled draftsman at a very young age).
During Ed's early formative years he also had access to art materials not typically found in a blue collar home. These were the post depression years of WWII and money was short for the family of a bakery truck driver. Therefore, it was fortuitous that art materials such as good camel's hair brushes, pans of watercolor pigments, and books on cartooning appeared in the Paschke household. His paternal uncle had taken art classes as a young boy and passed his art materials on for his nephews to play with.
In more than one interview as a mature artist, Ed referred to his memory of cartoon figures his dad (Ed Paschke Sr.) had painted on a wooden toy chest somewhere during the early '40s. The visual "magic" of these painted figures (several of Snow White's Dwarfs) impressed Ed for the rest of his life.
By fourth grade, Ed began drawing his own "in- house" comic strip about football players. These strips were rendered in bright colors and combined the knowledge he had gained from the funnies about how to draw people engaged in dynamic physical activity (i.e. Prince Valiant and Tarzan) with his emerging love of football.
Drawing comics eventually gave way to drawing of other things following the family's move to rural Wisconsin. Ed drew horses, deer running through the forest, and -chickens. Ed had a pet chicken named "Cheepy" back then (circa 1948-500. Cheepy spent a lot of time sitting on Ed's shoulder and no one else's. The Lyndon Station farm had a very large population of less tame chickens, turkeys, and ducks. (Note the frequent appearances of chicken and other "bird" images in Ed's later paintings, prints, and posters). The chickens produced eight dozen, or so, eggs per week, which had to be hand washed and sold in town at one of the two general stores. Ed hated the job of washing the eggs, but kept at it with "guidance". Turkeys and ducks were slaughtered, on-site, and sold in town for meat. The poultry "sacrifices" were usually somewhat festive occasions in which the Paschke family was joined by friends who helped with "bleed-outs" and feather plucking. Beer was always involved in these events and young Ed always enjoyed sipping beer offered to him (in secret) by the adults.
Around the time the Paschke family moved to Wisconsin (Ed was in the 3rd grade) the boys looked a lot at the "Johnson Smith" Catalog with some it's strange and exotic products, always accompanied by comic book-like line drawings. Money still in short supply but some things were ordered by mail order from the "Johnson Smith"catalog like a wax mouse to scare people with, and a little book explaining how to do Ju Jitsu. The drawings in the ju-jitsu manual were simple black and white line drawing of people involved in dynamic physical activity. They were studied intensely for clues about positions, leverage and pressure points, and how to effectively carry out the moves. Ju Jitsu was pacticed in the front yard in Lyndon Station during the summer. An old mattress was allowed out of the house to practice on. Later, in more affluent times back in Chicago, two pairs of boxing gloves were received as gifts and used in "boxing matches" between the Paschke boys. It is interesting that boxers were a favored design element in some of Ed's early prints, and re-emerged in some of the last paintings Ed was working on.
Ed looked at a lot of "Mad Magazine" Comic books as a teenager. Again, the way certain artists drew their characters attracted Ed.
See examples of Paschke's earliest works here.
During the late seventies to early eighties, the professional career of Ed Paschke began to take off. He was regularly showing in Chicago, New York and Paris while also finding time to teach art full-time at Northwestern University. In addition, as a visible and vocal voice for the arts in Chicago, Paschke found that with more success there were far more responsibilities away from the actual "creating of art."
It was also around this time when Paschke's wife, Nancy, began to suffer from the debilitating effects of Parkinson's Disease. Diagnosed with the disease in 1971 at the very young age of 32 years old, Nancy was an active homemaker caring for the couple's two children, Sharon and Marc. As the illness worsened it put an incredible strain on both the emotional and economic dynamics of the family. Time that normally would have been spent painting or working in the studio was now concentrated on caring for his spouse.
Yet for all these complications, Paschke continued his rise as a relevant artist culminating in his proudest professional moment: the opening of a comprehensive retrospective in 1989 at the Art Institute of Chicago. For someone that was eternally uncomfortable with receiving professional accolades of any kind, being able to bring his family, and especially his father, to this event, brought at least a momentary sense of accomplishment and satisfaction for the artist.
This same sense of satisfaction was in many ways duplicated when Paschke attended his wife's first public exhibition of her art a decade later. As his wife's condition worsened he sought different ways to alleviate her suffering and emotionally life her spirits. The answer came in the form of her reintroduction to painting. Having stopped any artistic pursuits to raise a family twenty years earlier, Nancy took to it immediately. Within two years she had secured gallery representation. That first show was a culmination of their dedication to each other and serves as a great illustration of the therapeutic effects that art can have on the body and the mind.
As Paschke's son Marc ponders;
"I always wondered what effect the disease had on dad's art. I know painting for mom met freedom and control. After losing control of her body, painting gave her control to do what she wanted on a canvas. It gave her the freedom to get away in both mind and spirit from the cage that trapped her. And I guess the same was probably true for dad. Painting gave him that mental freedom to escape watching his wife's slow defeat to her illness, to get away from the endless commitments and bureaucracy that had become his life away from the studio."
Whereas Paschke's family life added to the strain and stress of his life as a whole, it also provided interesting, vital material and perspective which undoubtedly ended up on many of the canvases of his later works.
For more information about Nancy Paschke, her artistic pursuits and to view her art, check out nancypaschke.com.
MR. CHICAGO
Born and raised in Chicago, Paschke was often referred to by his friends as "Mr. Chicago." Whereas many artists from the Midwest eventually pack up their bags and move to New York to "make it" in the art world, Paschke felt a special kinship with his city of origin.
"In the early 1970s I had a couple of shows in New York and basically thought that to move there I would have to transform myself in some dramatic way to fit in (due to a different aesthetic artistically there at the time) which I didn't want to do. I wanted to maintain my own personal evolution given whatever references or sources that were a part of my background here in Chicago. I thought that moving would be counter-productive artistically. Only time will tell if my decision was the correct one. "
He loved the diversity of the nations most under-rated city and spending time in such legendary haunts as the Green Mill in Uptown, and Club Lago in River North. A former youth athlete, Paschke loved the intensity of the Chicago sports scene and frequented the Chicago Stadium during the Chicago Bulls championship runs as well as both baseball stadiums during their annual drives of futility. Most of all he liked the grittiness and underbelly of the city well known for gangsters and frequently took friends, students or associates on his well-known "crime tour" in which he would drive around the city pointing out locations where the city's most infamous crimes had occurred.
Paschke achieved a level of celebrity in Chicago, rare for any artist, in which he was often recognized on the street. He even appeared on a 50 foot billboard alongside Michael Jordan, the city's most famous resident. For someone that had suffered through years of intense shyness as a youth it was compelling metamorphosis.
One year after his death, Paschke became one of the select few Chicago residents to have a street named after him. And not just any street. But rather Monroe Street between Michigan Avenue and Columbus Drive, which divides the Art Institute of Chicago which played such an intricate part of Paschke's development as an artist, and Millennium Park, a newly built area which has come to symbolize the visual arts in Chicago.
Professional Evolution / Timeline
By: Carol Schreiber
From: Ed Paschke by Neal Benezra
Published By The Art Institute of Chicago (1989)
Ed Paschke was born in 1939 in Chicago. His childhood interest in animation and cartoons led him toward a career in art. As a student at The School of the Art Institute of Chicago he was influenced by many artists featured in the Museum's special exhibitions, in particular the work of Gauguin, Picasso and Seurat. Although Paschke's interests leaned towards representational imagery, he learned to paint based on the principles of abstraction and expressionism. Paschke received his Bachelor of Fine Arts degree from The School of the Art Institute of Chicago in 1961, and his Master of Fine Arts degree from The School of the Art Institute of Chicago in 1970. Between his graduate and undergraduate work Paschke traveled and worked a variety of jobs amassing the experiences that would shape his artistic style. During a brief period in New York, he was exposed to Pop Art philosophy and began to incorporate elements of this style borrowing images directly from the print media and other elements of popular culture. Themes of violence, aggression, and physical incongruity prevail in his work of this period. Returning to Chicago in 1968 he exhibited with other artists whose work, like Paschke's, shared references to non-Western and surrealist art, appropriated images from popular culture and employed brilliant color throughout a busy and carefully worked surface. Known collectively as the Imagists, their work attracted attention both regionally and nationally. Like most artists Paschke never liked being labeled as part of a specific group, especially when his art was so vastly different. Nonetheless, he understood the basis for his inclusion and was always proud to represent a Chicago "type of art."
Paschke's work of the 1970's reflects society's subculture as the artist replaced images from the print media with images derived from the electronic media. Street people such as pimps and prostitutes are frequently depicted. In 1980's, his enlarged scale to a grand proportion and includes images of such well-known figures as George Washington, Elvis Presley, and Mona Lisa soaked in vibrant colors. His work reveals a powerful interaction between humanity and technology capable of shaping perception at the most fundamental level. In the 1990s, Paschke continued several of these themes while experimenting with new ideas including fish, birds and the sky. In his final few years, Paschke revisited some of his most beloved passions including boxing and controversial subjects such as Osama Bin Laden.
In addition to his individual pursuits as a fine artist, Paschke was an active member of the academic community for most of his adult life. Following brief stops at a Barat College in Lake Forest Illinois, Meramec Community College in Kirkwood, MO. and the School of the Art Institute, Paschke became a full-time professor of art at Northwestern University in Evanston, Illinois in 1978. He remained there, where he often served as Chairman of the Art Department, for over twenty six years until his death in 2004.
Paschke enrolls in The School of The Art Institute of Chicago in the Department of Drawing, Painting, and Illustration. He excels in figure drawing (which he practices on the commuter train) but is unprepared to deal with formal concepts of composition; he is particularly mystified by theories of abstraction. At school Paschke points expressionistically, but in private he draws realistically. Frequently he visits the Art Institute galleries where he admires paintings by Edouard Manet that depict figures in a "posterlike" manner against a black background-thereby violating the rules taught in class. Paschke also responds to compositions by Edgar Degas, particularly The Millinery Shop (1879/84) with its "repetition of shapes." Other favorite works include Peter Blume's The Rock (1948) and Jack Levine's The Trial (1953-54), which he finds "amazingly well painted with an economy of means." He is appreciative of J.-A.-D. Ingres's depictions of flesh and fabrics but is emotionally drawn to Rembrandt's self-portrait. The "Picasso: 75th Anniversary Exhibition" is an important experience for Paschke, as is the work of Richard Lindner included in the "62nd American Exhibition of Painting and Sculpture." In conjunction with academic classes, Paschke reads Charles Dickens, Aldous Huxley, H. L. Mencken, Franz Kafka, and Jack Kerouac.
Favorite classes are two in life drawing: lineal with instructor John Fabian, and volumetric with Isabel Steele MacKinnon, a former student of Hans Hofmann. He also takes a class in lettering and magazine illustration. "Seurat Paintings and Drawings" introduces Paschke to the master's Conte-crayon works, which later serve as stylistic models for his own black-and-white drawings, such as the Queen Dido illustration for Playboy. Paschke exhibits Commutism (1958), a work based on his daily train rides, in the "1958 Chicago Artists Exhibition." He receives commendation for figure drawing from the School of the Art Institute.
Paschke is exposed to the work of Ivan Albright, Leon Golub, Hans Hofmann, Jack Levine, and H. C. Westermann in the "63rd American Exhibition" at The Art Institute of Chicago. He also sees work by Bruce Conner, Robert Rauschenberg, and Larry Rivers in the "64th American Exhibition." He receives Faculty Honorable Mention for Advanced Painting and Figure Drawing (1960-61) and Class Honorable Mention for Figure Painting. He graduates from the Art Institute and wins the Anna Louise Raymond Foreign Traveling Fellowship ($1,500), which he uses for a three-month trip to Mexico with SAIC colleagues Karl Wirsum and Bert Phillips. In August 1961 he returns to Chicago with slides, a pet parrot named Flaco, and a "visual written journal which locked the experience into my conscious or subconscious."
In September Paschke takes an apprentice position at the Pace Studios, Chicago, where he cleans brushes and fetches coffee for the established commercial artists but receives no assignments of his own; he leaves after six months. He receives three commissions from Playboy (which include Queen Dido) and establishes a continuing relationship with the magazine (twenty-eight of his illustrations are published from 1962 to 1989). In May Paschke seeks employment in New York as a magazine illustrator. During his week there (staying near the Greyhound Station in Times Square), he visits Birdland and several different museums but is unsuccessful in obtaining a job. Back in Chicago and sensing an impending draft notice, he takes a civil-service examination and works (June-August) as a psychiatric aide at the Dunning Psychiatric Center (Chicago-Read Mental Health Center) to satisfy a long-standing curiosity concerning mental abnormality.
Returning to New York, Paschke rents a room on the Upper West Side and experiments with filmmaking, surreptitiously shooting the neighborhood derelicts. He rewards them with drinks for "mugging" and "acting" in his films. Later he splices this footage with professional move clips; the interspersed visuals, which the artist had seen repeatedly as a child, are for him "a collage of early life."
Paschke is drafted into the Army, November 4, 1962, and sent to Fort Polk, Louisiana. As a Specialist Fourth Class, he illustrates training aids to explain weapons and procedures to incoming troops. The images include diagrams on how to load a gun as well as full-scale renderings of guns; in retrospect, they remind him of Pop Art. Paschke's own proficiency with a .45-caliber revolver qualifies him for the job of pursuing AWOL soldiers across the South into Georgia and Texas. Personally, he is surprised by the tough brutality of several fellow draftees whose aggressive demeanor and life experiences significantly contrast with his own. Released from the Army on November 4, 1964, he returns to Chicago.
In January he spends the remainder of his fellowship funds on a trip to Europe, visiting Rome, Florence, London, and Paris. Glad to be back in the United States, "where things were happening," he spends March and April in New York, where he sublets a room on the Lower East Side in an abandoned synagogue. To keep warm, he stuffs old New York Times in the cracked window frames; the most appealing images he cuts out and pasts on cardboard, inking over some parts and painting out others (see fig. 11). The resulting collages-many with duplicate figures-serve as prototypes for paintings. At the Museum of Modern Art's "Recent Painting and Sculpture Acquisitions" exhibition, he is impressed by Andy Warhol's Gold Marilyn (1962). Paschke returns to Chicago in April. He rents space in a condemned building (near North Avenue and Halsted Street) and paints-living on three dollars a day-until the money runs out. He sees exhibitions of works by Max Beckmann and Stuart Davis at The Art Institute of Chicago. He exhibits in "Phalanx 3" at the Illinois Institute of Technology with, among others, Tom Palazzolo, a colleague from the School of the Art Institute, whose work has interested him for its theatrical subject matter and depictions of amusement-park freaks. In October he takes a job at the Wilding Studio working with a team of draftsmen rendering a map to be used in training astronauts for the Apollo moon mission.
Paschke leaves Wilding Studio in June to work for Silvestri, a display company, painting a Piranesi-style scene on the temporary facade around the first-floor windows of the Carson, Pirie, Scott and Company department store; he notes how ironic it is to be covering Louis Sullivan's architectural landmark with an imitation of art. Paschke explores the inner city's ethnic neighborhoods and historic shrines, including sites of infamous crimes and favored underworld hangouts. Occasionally he deposits an assortment of jackets on the back seat of his parents' car and, cruising from bar to bar, changes clothes to harmonize with the local clientele. He sees various exhibitions of work by Jack Levine, Rene' Magritte, Robert Rauschenberg, and James Rosenquist and feels "an affinity for their Surrealistic juxtapositional strategy." Paschke attends the first of the "Hairy Who" exhibitions at the Hyde Park Art Center. Seeing his former Art Institute colleagues James Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum professionally engaged and organized causes him to question his own potential.
Paschke stops work in June to give himself time to paint. Large Round Open (1965) is exhibited in the "Seventieth Annual Exhibition by Artists of Chicago and Vicinity." Paschke sees works by Claes Oldenburg and Dan Flavin at the newly opened Museum of Contemporary Art, Chicago.
Paschke takes the role of "leading man" in Red Grooms's film Tappy Toes, which is staged in Grooms's room-sized construction, Chicago (1967-68). He joins with Sarah Canright, Edward C. Flood, Robert Guinan, and Richard Wetzel in the "Nonplussed Some" exhibition at the Hyde Park Art Center; Paschke shows nine works, including Amor (1968) and Dos Criados (1968). Purple Ritual (1967) and Tet Inoffensive (1968) are included in the Museum of Contemporary Art's exhibition "Violence in Recent American Art."
In the spring Paschke meets Nancy Cohn, a former Art Institute student he had dated during his undergraduate years. They are married November 22. The couple takes an apartment at Clark Street and Oakdale Avenue; Paschke attends graduate school at the Art Institute on the GI Bill; a master's degree will enable him to obtain a teaching position that will support his family and still leave him time to paint.
Paschke studies silkscreening with Sonia Sheridan at The School of The Art Institute of Chicago, where he prints Budget Floors (1968-69). He enters a variety of national juried print and drawing shows as a means of obtaining exposure for his images; practically, he finds that works on paper can be most easily and inexpensively transported. He exhibits in "Nonplussed Some Some More" at the Hyde Park Art Center and in "Don Baum Sez 'Chicago Needs Famous Artists'" at the Museum of Contemporary Art. Paschke is taken on by Deson-Zaks Gallery in Chicago. For "Art by Telephone," an exhibition organized by the Museum of Contemporary Art, Chicago, he follows phoned instructions from British artist Richard Hamilton. Dos Criados (1968) is among three works included in "Human Concern/Personal Torment: The Grotesque in American Art," organized by the Whitney Museum of American Art, New York.
Paschke sees a retrospective exhibition of works by Andy Warhol--the artist whom he deems to be the most significant postwar American painter--at the Museum of Contemporary Art, Chicago. He exhibits Accordion Man (1969) and other works of the Hyde Park Art Center in "Marriage Chicago Style." Paschke continues graduate studies at the School of the Art Institute where he is a Ponte del Arte Fellow. He receives his Master of Fine Arts on June 22, 1970 (his thirty-first birthday). In May he has his first one-person show, at the Deson-Zaks Gallery, Chicago. Mid American (1969) is exhibited in the "30th Society for Contemporary Art Exhibition" at The Art Institute of Chicago and is acquired by the museum. The canvas is one Paschke has struggled with over an extended period of time, and which he had considered a failure prior to repainting its left side. One of Paschke's few repainted works, the painting conceals an image of a young boy beneath the now-visible baseball mitts.
Moving to St. Louis in the late summer, Paschke begins in September teaching at Meramec Community College, Kirkwood, Missouri. He shows Marshall McLuhan's documentary film The Medium Is the Message to his painting classes and is as impressed by the film's visual effects-which feature the superimposition of colored gels on live action-as he is by the content.
Paschke continues at Meramec through the spring term. A daughter, Sharon, is born in April. Paschke obtains a teaching position at Barat College
Lake Forest, Illinois, for the following year and returns to Chicago with his family. He rents an apartment in Rogers Park on the Far North Side near Loyola University. Nancy's younger brother, Daniel Cohn, a student at the school, moves in with them. Paschke uses the living room as a studio; he paints canvases of leather objects in order "to get away from the figure." Related imagery appears in his first lithograph, Hairy Shoes (1971), which he prints at Landfall Press, Chicago. Paschke exhibits with Sarah Canright, Edward C. Flood, Suellen Rocca, Barbara Rossi and Karl Wirsum in the exhibition he names "Chicago Antigua" (sub-titled "The Artful Codgers.") at the Hyde Park Art Center. In April Paschke has his first one-person Exhibition in New York, at the Hundred Acres Gallery. Unfavorable reviews deter him from a c considered relocation to New York. In late fall Paschke exhibits paintings of shoes and other leather objects at Deson-Zaks Gallery. He "tattoos"himself with marking pens and poses with piles of shoes for the poster announcing the show.
Paschke continues to teach at Barat College. Amor (1968) and M.A. Lady (1970) are among the works exhibited at the Museum of Contemporary Art in "Chicago Imagist Art." Fantastic Images, Franz Schultze's book accompanying the show, formally establishes an identity for Chicago artists. The exhibition travels to New York and is reviewed by Robert Hughes for Time magazine (further solidifying the group identity). Mac McGinnes, actor manager of the Kingston Mines Theater n Chicago, asks Paschke to design sets--in the form of a series of drawings to be projected on a scrim--for Charles Ludlum's play Turds in Hell.
In addition to teaching at Barat College, Paschke teaches an evening painting class at the Deerpath Art League in Lake Forest, Illinois. He buys a house in Chicago (1927 West Estes Avenue near Damen Ave) with a detached garage which he intends to remodel as a studio; the plan fails and instead he utilizes a room at Barat where he paints larger than life show girls. Paschke exhibits Ruby Jo (1973) at the Art Institute of Chicago's Seventy Fourth Exhibition by artists of Chicago and the Vicinity" and it wins the Logan Prize. The painting is one in which he has utilized a "mistake"--a splashing mark caused by a falling brush--to create a fanciful "fringe" composed of numerous "splash" marks. His work is included in "Made In Chicago," organized by Don Baum, which travels to the XII Bienal de Såo Paulo, Brazil. Paschke teaches a summer session at The School of the Art Institute, where he continues to hold teaching positions through the spring of 1976. He has his first one-person exhbition in Europe, at the Richard de Marco Gallery, Edinburgh. The show travels throughout England. He exhibits show-girl paintings at Deson-Zaks Gallery in the late fall. He photographs his wife Nancy in theatrical garments and draws tattoos on her for the poster announcing the exhibition. The show is reviewed in the Chicago Tribune by Franz Shultz and in the Chicago Daily News by Alan G. Artner; both note"revulsion" experiences in viewing the paintings but consider them worthy of serious discussion.
Paschke has the first exhibition at Galerie Darthea, Paris. He also exhibits the show girl-paintings at Hundred Acres Gallery in New York. He has a one-person exhibition at the Contemporary Arts Center, Cincinnati, Ohio. In addition to continuing with the paintings of women, he begins a group of pencil drawings of men. In the fall he rents his first "real" studio," which consists of two rooms above the Adelphi Movie Theater on Clark Street. He begins work on paintings of men.
Lucy (1973) and Minnie (1974) are among Paschke's six paintings exhibited in 'Made In Chicago," an expanded version of the Såo Paolo show, organized by the Smithsonian Institution, Washington D.C.. The show travels to the Museum of Contemporary Art and is included in the "Seventy-Fifth Exhibiton by Artists of Chicago and Vicinity." at The Art Institute of Chicago. Paschke continues teaching af the School of the Art Institute and also teaches a series of critique classes at the Deerpath Art League.
Paschke's pencil drawings of men based on politicians (including Richard Nixon, Bob Haldeman, John Mitchell) are exhibited at the Pyramid Gallery in Washington D.C.. He explores "abstract" possibilities in his work by creating a series of large-scale paintings based on fabric. These relate to backgrounds in paintings such as Armondo (1975) and Red Sweeney (1975). He has his last show at Deson Zaks.
Paschke continues teaching at The School of the Art Institute and at Deerpath Art League. He has a show at Marion Locks Gallery in Philadelphia and a second with Darthea Speyer in Paris. His work is included in "Hyde Park Art Center Retospective Exhibition: Historic Panoramic Abra Cadabra." In October he begins three lithographs based on his drawings of men for Landfall Press, Chicago: Hubert, Klaus and Tudor. He also makes an etching, Hat (1976-77).
Paschke begins a new body of work based on anonymous personalities. In signing a small painting of a mask, Signaturo (1977), he develops a neon like linear element that suggest involvement with electrical forms of communication which later serves as an impetus for the "neon" paintings. Tropicale (1976) is exhibited in the "35th Scoiety for Contemporary Art Exhibition: Drawings of the 1970s at the Art Isntitute of Chicago and is acquired for the museum's collection. Paschke assumes a full-time faculty position at Northwestern University, Evanston, Illinois. This job will prove vital in providing health coverage for his wife who will soon require full-time care. He also teaches at Columbia College, Chicago (February 1977-June 1978), and the Suburban Fine Arts Center in Highland Park, Illinois (June 1977 - June 1978). He has his first exhibition at the Phyliis Kind Gallery, Chicago.
Paschke continues to teach at Northwestern but elminates other academic posts to give himself more time tp paint. He prepares for two one person shows: at the Galerie Darthea, Paris and his first at the Phyllis Kind Gallery , New York. Russell Bowman's review of the New York show in Arts Magazine equates Paschke's luminous color with film technicolor or paintings by Mark Rothko. Of the nine group shows in which Paschke's work is exhibited, six specifiy "Chicago" in the exhibiton title, further "regionalizing" his identity at a time when Paschkes aspires to universalizing his imagery. Paschke shows at the "Salonde Mai," Grand Palais, Paris. His canvasses illustrating Gloria Steinem and three "playgirls" are included in the exhibition "The Art of Playboy from the First 25 Years."
Inadequate heat forces Paschke to move his studio. He rents an old dental office on Howard Street which is the Chicago/Evanston boundary. In particular, he is attracted to the areas constant activity centering around is elevated train station and the mixture of ethnic and racial groups. He continues teaching at Northwestern, becoming Chariman of the Department of Art Theory and Practice.
Hairy Shoes (1971), Cho Chan (1978), and Fumar (1979) are among fourteen works whon in "Who Chicago?" An Exhibition of Contemporary Imagists," organized by the Ceolfrith Gallery, Sunderland Arts Centre, Sunderland, England. In addition to teaching Paschke accepts various speaking/critiquing engagements at other collecges and univeristies. He appreciates the opportunity to visit diverse parts of the country. Violencia is included in the "1981 Biennial Exhibition," Whitney Museum of American Art, New York and acquired for the museum's collection. Paschkle's work is included in a group exhibition organized by the Centre of Art Contemporain, Geneva.
Duro-Verde (1978) is included in "From Chicago," The Pace Gallery, New York and is reproduced in a review by John Russell in the New York TImes. Paschke has a retrospective at the Renaissance Society at the University of Chicago. He serves as guest curator for the exhibition "Flip! Flash! Pinball Art!" co-sponsored by the Chicago Puboic Library Cultural Center in part for his love of pinball machines. Rufus (1974) appears on the cover of the October Issues of Art in America.
Paschke creates a group of loose, expressionistic drawings using oil sticks and paint on large sheets of rag paper. He is commissioned by the Business Committee for the Arts to make a print : Execo (1983)--an image of an overweight and presumably self-congratulatory C.E.O.--its unflattering to its intended group but is received without negative backlash. Paschke creates Viseon, a lithograph / poster for the 1984 "Chicago International Art Exposition." He has his first exhibition on the West Coast with the Fuller Goldeen Gallery, San Francisco.
Paschke exhibits five paintings in "An International Suvery of Recent Painting and Sculpture" at the Museum of Modern Art, New York. He designs murals fo the Dome Room of the Limelight, a Chicago night-club. The images he uses are appropriated from photographs in Warhol's Interview magazine. Paschke resigns the chairmanship at Northwestern but continues to teach at there as a tenured professor. He assists the Renaissance Society at the University of Chicago in organizing the "Chicago White Sox Baseball Card Portraits," where he paints a portrait of White -Sox slugger Harold Baines. He receives the Academy Honor from the Cademy Hugh School for Performing Arts and Visual Arts, Chicago.
Violencia (1980) appears at the cover image for a catalog accompanying "The Figure as Subject: The Last Decade: the inaugural exhibition in the south gallery at the Whitney Museum of American Art at Equitable Center, New York. Ten of Paschke's works appear in an exhibition featuring professors of art at Northwestern University, "Painting at Northwestern: Conger, Paschke , Valerio." Caliente (1985) appears in the "Seventh-Fifth American Exhbition" at The Art Institute of Chicago; it is acquired for the museum's collection. Paschke shows his iconic heads in New York in concurrent one-person exhibitions of the Phyllis Kind Gallery and with a new dealer, Luhrig, Auggustine and Hodes. He also has his first show with the Dorothy Goldeen Gallery, Santa Monica, California. The Lowe Art Museum , Coral Gables, Florida organizes a retrospective exhibiton of sixteen of Paschke's works (1972-88).
Born in 1939 in Chicago. BFA and MFA, The School of the Art Institute of Chicago. Ed Paschke, an internationally recognized artist, was a professor at Northwestern University and a recipient of many awards, including a Guggenheim Fellowship (2000). The artist lived and worked in Chicago. He died on November 25, 2004.
Baltimore Museum of Art, Maryland
Birmingham Museum of Art, England
Borg-Warner Corporation, Chicago
Brauer Museum of Art, Valparaiso, IN
Brooklyn Museum, NY
Carnegie Center for Art & History, New Albany, IN
Carnegie Museum, Pittsburgh
Centre Georges Pompidou, Paris
Chicago History Museum, Chicago
Cole-Taylor Bank, Chicago
Contemporary Museum, Honolulu
Continental Bank, Chicago
Ed Paschke Art Center, Chicago
Elmhurt College Art Collection, Elmhurst, IL
Elveheim Museum of Art, Madison, WI
Exxon Corporation, NY
First National Bank of Chicago
General Electric & Co, Fairfield, CT
Hirshorn Museum, Washington, DC
Illinois Bell, Chicago
Illinois State Museum of Art, Springfield, IL
Jacksonville Museum of Art, FL
Kalamazoo Institute of Art, Michigan
John F Kennedy Library, Washington, DC
Madison Art Center, Madison, WI
Metropolitan Museum of Art, New York
Milwaukee Art Museum, WI
Montgomery Museum of Art, Montgomery, AL
Musee d'Art Moderne Nationale, Paris
Museo de Art Contemporaneo de Monterrey, Mexico
Museum des 20 Jahrhunderts, Vienna, Austria
Museum Boymans, Rotterdam, The Netherlands
Museum of Contemporary Art, Chicago
Museum Moderner Kunst, Vienna
National Museum of American Art, Smithsonian Inst. Washington, DC
Northern Trust Bank, Chicago
Palmer Museum of Art, Penn State University Museum, University Park, PA
Playboy Collection, Chicago
Polk Museum, Lakeland, FL
Rutgers University, New Jersey
The State of Illinois, Chicago
Valparaiso Museum of Art, Valparaiso, IN
Virginia Museum of Fine Arts, Richmond, VA
Walker Art Center, Minneapolis, MN
Wake Forest University, Winston-Salem, NC
Weisman Museum of Art, Pepperdine University, Malibu, CA
Whitney Museum of American Art, New York
Yale University Museum, CT
2015 Ed Paschke: Visionary From Chicago, Ashmolean Museum, Oxford England, Hall Foundation, January 17th - July 5th,
Traveled to Ed Paschke Art Center, Chicago, IL, May 20, 2019 - 10/29/17
2014 Ed Paschke. Mary Boone Gallery, New York, May 3rd - June 24th 2014 PHOTOS
2013 Ed Paschke Drawings. Russell Bowman Art Advisory, Chicago, IL,
2012 Ed Paschke. The Art Institute of Chicago, Chicago, IL,
2011 Ed Paschke: Early Paintings and Drawings. Russell Bowman Art Advisory, Chicago, IL,
2010 Gagosian Gallery, New York, Ed Paschke, March 18th - April 24th
2008 Ed Paschke: Major Paintings From 1970–2004. Russell Bowman Art Advisory, Chicago, March 21–May 10
2007 Ed Paschke: Unfinished Business. Lewis & Clark College, Godfrey, IL, Sept. 22–Oct. 19
Ed Paschke: Nonplussed: Paintings 1967–2004. Herron School of Art and Design, Indiana
University and Purdue University, Indianapolis, March 9–April 29
2006 Ed Paschke: Chicago Icon. A Retrospective. Chicago History Museum, Chicago, Sept. 30–Feb. 19
2005 Ed Paschke: Memorial Exhibition. Maya Polsky Gallery, Chicago, Feb. 4–March 15
Ed Paschke: Paintings. St. Francis University Museum, Ft. Wayne, IN, Aug. 27–Sept. 25
Ed Paschke: Memorial Exhibition. Suburban Fine Arts Center, Highland Park, IL, April 6–18
2004 Ed Paschke: Prints. National Museum in Wroclaw, Poland
Ed Paschke: New Paintings. David Floria Gallery, August 1-September 6
Ed Paschke: Maya Polsky Gallery, Chicago, Sept. 10–Oct. 19*
Ed Paschke: Galerie Darthea Speyer, Paris Nove. 15 – Dec 18
2003 Ed Paschke: Paintings. Prints. Drawings. Cardinal Stritch University, Milwaukee, WI, October
Ed Paschke: Recent Work. The Illinois Institute of Art, Chicago, Nov. 1–Dec. 5
Ed Paschke: McHenry Community College, IL Nov 3 –Dec 2
2002 Maya Polsky Gallery, Chicago, Nov. 22–Dec. 31
Galerie Darthea Speyer, Paris, March
Columbus State University, Georgia, March
Frederic Snitzer Gallery, Miami, May 3- May 31
Alma College, Michigan
Galerie Darthea Speyer, Paris Feb. 28 – April 20
2001 Selections from the Collection: Ed Paschke. Madison Art Center, Madison, WI, June 3–Aug. 19
Ed Paschke: Works on Paper. Maya Polsky Gallery, Chicago, Sept. 7–Oct. 19*
Eastern Illinois University, Tarble Art Center Jan 12 – Feb 18
University of Tampa, Carfone Hartley Gallery
Ed Paschke: Paintings and Prints . Brainard Gallery, Table Arts Center, Eastern Illinois University.
Jan 12 – Feb 18, 2001
Ed Paschke: New Works. Maya Polsky Gallery, Chicago, Sept. 8–Oct. 14
Galerie Darthea Speyer, Paris, February 24-April 7
Ed Paschke: New Paintings, David Floria Gallery, Aspen, CO, July 4 –August 6
Frederic Snitzer Gallery, Miami, June 9-July 5, 2000
Focus: Ed Pashke, Paintings and Lithographs. New Bedford Art Museum, New Bedford. June 29 – Sept 4
1999 Ed Paschke: Recent Works. Holland Area Arts Council, Holland, MI, December 10, 1999-February 12, 2000
Gallery B.A.I., New York, October 5-October 30
Ed Paschke: New Works. Maya Polsky Gallery, Chicago, Sept.–Oct.
Snitzer Gallery, Miami
Vaknin-Schwartz, Atlanta
1998 Ed Paschke Prints. Anchor Graphics, Chicago, Oct. 16–Nov. 14
Tribute to Ed Paschke. Standard Club, Chicago
Ed Paschke: New Prints David Floria Gallery, Aspen, CO, August 2 – September 4
Ed Paschke: New Paintings. Maya Polsky Gallery, Chicago, Sept.–Oct.
Rossana Ciocca Gallery, Milan
Skidmore College, Saratoga Springs, NY
Ed Paschke Retrospective: 1973 – 1998. Galerie Darthea Speyer, Paris
INSA Gallery, Seoul
Dean Jensen Gallery, Milwaukee
Galerie Darthea Speyer, Paris, September 24-November 14
Paschke Sr / Paschke Jr. Suburban Fine Arts Center Highland Park, IL December 4-January 5, 1999
1997 Ed Paschke: New Paintings. Maya Polsky Gallery, Chicago, Sept.–Oct.
INSA Gallery, Seoul Korea Oct 9 – Oct 21
Rossana Ciocca Gallery, Milan Feb 13 – April 1
Galerie Darthea Speyer, Paris April 4 – June 1
1996 B. A. I. Gallery, Barcelona Feb 13 – April 6
Phyllis Kind Gallery, New York, Feb. 10–March 12
1995 Galleria Galliani, Genoa, Italy Dec 7 – Jan 31, 1996
Ed Paschke, Recent Paintings. Eve Mannes Art advisor, King Plow Arts Center Gallery, Atlanta
Phyllis Kind Gallery, Chicago, Sept. 15–Oct. 3
Galerie Darthea Speyer, Paris May 4 – July 1
1994 Grand Valley State University, Allendale, MI
1993 Lithos and Prints. Himovitz Gallery, Sacramento, CA Nov. 12 – Dec. 4
Phyllis Kind Gallery, Chicago, May 7–30
Phyllis Kind Gallery, New York
Galerie Darthea Speyer, Paris, May 13-July 3
1992 Caestecker Gallery, Ripon College, Ripon, WI
Phyllis Kind Gallery, Chicago, Jan. 10–Feb. 5
Phyllis Kind Gallery, New York Jan 10 – Feb. 5
Dorothy Goldeen Gallery, Santa Monica, CA April 11 – May 23
1991 First Person Plural: Part II/Focus on Ed Paschke. Turman Gallery, Indiana State University, Terre Haute, IN
Ed Paschke: Paintings, Drawings from Chicago Collections. Art Institute of Chicago, Chicago,
Oct. 10–Jan. 2, 1992
Galerie Darthea Speyer, Paris, September 19-November 2
1990 Phyllis Kind Gallery, Chicago
Galerie Darthea Speyer, Paris
Dorothy Goldeen Gallery, Santa Monica, CA
1989 Ed Paschke Retrospective. Organized by Neil Benezra. Musee National d'art Moderne - Centre Georges
Pompidou, Paris, Dec 12 – Feb 11, 1990 ; Travelled to The Dallas Museum, Dallas, TX. May 13 – July 15, 1990.
The Art Institute of Chicago, Chicago. Oct 13 – Jan 2, 1991, Galerie Darthea Speyer, Paris Dec. 14 – Feb. 10, 1990.
1988 Lowe Art Museum, University of Miami, Coral Gables, FL, Dec. 15– Jan. 29, 1989
Phyllis Kind Gallery, Chicago, Oct. 7–Nov. 1
Galerie Darthea Speyer, Paris Sept 22 – Nov. 5
Dorothy Goldeen Gallery, Santa Monica, CA May 12 – June 11
Galerie Bonnier, Geneva, Switzerland Sept.-Oct.
1987 Luhring Augustine Gallery, New York, Feb. 10–March 7
Phyllis Kind Gallery, New York, Feb. 10–March 7
Galerie Bonnier, Geneva, Switzerland
1986 Phyllis Kind Gallery, New York
Galerie Darthea Speyer, Paris Oct. 4 – Jan 6, 1986
Fuller Goldeen Gallery, San Francisco, Oct. 28 – Nov. 22
1985 Galerie Bonnier, Geneva, Switzerland Feb 5 – March 7
1984 Phyllis Kind Gallery, New York, Sept. 15–Oct. 6
Fuller Goldeen Gallery, San Francisco Nov. 7 – Dec. 1
1983 New Paintings 1983. Hewlett Gallery, Carnegie Mellon University, Pittsburgh, October 8-November 5
Kalamazoo Institute of Arts, Kalamazoo, MI, Nov. 8–Dec. 24
Phyllis Kind Gallery, Chicago, Sept. 9–Oct. 4
Phyllis Kind Gallery, New York, April
Galerie Darthea Speyer, Paris Sept. 22 – Nov. 29
Art on the Edge, Jan. 4 – Jan 29
1982 Ed Paschke: Selected Works 1967 - 1981. Renaissance Society, University of Chicago, Chicago, March 7–April 18
Contemporary Art Museum, Houston, Aug. 21–Sept. 26
Phyllis Kind Gallery, New York, March 3–?
1981 Ed Paschke. Galerie Darthea Speyer, Paris, April 26–June 6
Ed Paschke. Centre d'art contemporain, Geneva, Switzerland, October 23–?
1980 Phyllis Kind Gallery, New York, Nov. 12–Jan. 8, 1981
1979 Phyllis Kind Gallery, Chicago, Oct. 12 – Nov. 21
Phyllis Kind Gallery, New York, Dec. 11–Jan. 12, 1980
1978 Phyllis Kind Gallery, New York, Sept. 16–Oct. 14
Ed Paschke: Présences. Galerie Darthea Speyer, Paris, Oct. 3–Nov. 5
1977 Phyllis Kind Gallery, Chicago, Sept. 30–Nov. 2
1976 Ed Paschke in Philadelphia. Locks Gallery, Philadelphia, Feb. 2–25
Galerie Darthea Speyer, Paris, Nov 3 – Dec 5
1975 Pyramid Gallery, Washington, DC, May
Deson Zaks Gallery, Chicago, Jan. 10–Feb. 12
1974 Contemporary Arts Center, Cincinnati, OH, July–Aug. 24
Ed Paschke. Galerie Darthea Speyer, Paris, Feb. 6–March 3
Hundred Acres Gallery, New York
Ed Paschke. Richard deMarco Gallery, Edinburgh, Feb. 2–24
Ed Paschke: New Paintings. Deson Zaks Gallery, Chicago, Nov. 16–Dec. 1
Deson Zaks Gallery, Chicago
1971 Ed Paschke: New Paintings. Hundred Acres Gallery, New York, April 3–24
1970 Ed Paschke: New Painting. Deson Zaks Gallery, Chicago, May 8–June 8
2019 How Chicago! Imagists 1960s & 70s, Goldsmith's CCA, March 15 - May 2019
2017 From Chicago. 1965 - 1975. Fondazione Prada, October 20, 2017 - January 15th, 2018
Kings & Queens, Pinball, Imagists & Chicago, Elmhurst College, February 25, 2017 - May 7, 2017
2013 Glam! The Performance of Style.Tate Liverpool, Liverpool, England. Travelled to Schirn Kunsthalle, Frankfurt, Germany: Lentos
Kunstmuseum, Linz, Austria)
2012 Sinister Pop. Whitney Museum of American Art, NYC, NY
2011 Chicago Imagists, Madison Museum of Contemporary Art, Madison, Sept 7, 2011 - January 15, 2018
2010 Psychedelic: Optical and Visonary ArtSince the 1960s. San Antonio Museum of Art, San Antonio, TX.
2009 June Spiezer: Whatever I'm Looking At. Carthage College, Carthage, IL, Sept. 9–Oct. 8
The Francis and June Spiezer Collection. Rockford Art Museum, Rockford, IL, July 17–Sept. 27
2008 Everything's Here: Jeff Koons and His Experience of Chicago. Museum of Contemporary Art,
Chicago, June 14–Oct. 26
2007 Hairy Who (and some others). Madison Museum of Contemporary Art, Madison, WI, Oct. 14–Jan. 6, 2008
2006 Biennial Exhibition: Day for Night. Whitney Museum of American Art, New York, March–May 28
2005 Ed Paschke Tribute. Gallery 415, Chicago, April 8–July 8
Homage to Ed Paschke. Galerie Darthea Speyer, Paris, Nov. 3–Dec. 23
2004 JFK. Norton Museum of Art, West Palm Beach, FL, Feb. 7–May 2
2003 Chicago Artists in the New Millennium. Union League Club of Chicago, Chicago
JFK. Bruce Museum, Greenwich, CT, Sept. 20–Jan. 11, 2004
Chicago Dreams. Chicago Cultural Center, Chicago
National Academy of Design, New York
Art Chicago International Art Fair, Maya Polsky Gallery, Chicago
Crosscurrents at Century's End: Selections from the Neuberger Berman Art Collection. Norton Museum of Art,
The Francis and June Spiezer Collection. Rockford Art Museum, Rockford, IL, Nov. 7–Jan. 18, 2004
West Palm Beach, FL, Oct. 18–Dec. 28
2002 Virtual Visions: Three Decades of Collaboration.The Brunnier Art Museum, Iowa State University,
Ames, IA, Oct. 24–Jan. 5,2003.
Bare Walls. Art Institute of Chicago, November
Print Invitational. University of Wisconsin
Made In Chicago. Baumgold Gallery, New York
Visual Aids. New York
Life, Death, Love, Hate, Pleasure, Pain. Museum of Contemporary Art, Chicago, Nov. 16–April 20
Selections from the Permanent Collection. Musee National d'art Moderne: Centre Georges
Pompidou, Paris, Jan. 28–March 31.
2001 A Disarming Beauty: The Venus de Milo in 20th century Art. The Salvador Dali Museum, St.
Petersburg, FL, May 26–Sept. 10
26th Print National. Brooklyn Museum of Art, Brooklyn, NY, June 22–Sept. 2
King Size. Musee International des Arts Modestes, Sete, France, June 21–Oct. 30
79th Annual Exhibition. The Arts Club of Chicago, Chicago, Nov. 19–Dec. 22
Transcultural Visions: Polish American Contemporary Art. Hyde Park Art Center, Chicago,
Jan. 4–March 3. Travelled to The National Museum in Szczecin, Poland, March 21–April 21
2000 The Lopsided Grin: Facing the New Century. Bowling Green State University, Bowling Green, Ohio
Self-Portraits 2000. Printworks Gallery, Chicago, Nov. 17–Feb. 17, 2001
Chorus of Light: Photographs from the Sir Elton John Collection. The High Museum, Atlanta,
Nov. 4–Jan. 28, 2001
Masks: Faces of Culture. Field Museum of Chicago, Chicago, Feb. 19–May 14
D'Apres L'Antique. The Louvre Museum, Paris, Oct. 16–Jan. 15, 2001
14 Artists from the Midwest. Fort Wayne Museum of Art, Fort Wayne, IN
The Figure. Snug Harbor Cultural Center, Staten Island, NY
American Masterworks. Quincy Art Center, Quincy, IL
1999 Art of the Century/Part II. Whitney Museum of American Art, New York
Stills. Rowan Collection, Bard College, NY, September
The American Century. Whitney Museum of American Art, New York, September
Jumpin' Black-Flash. Northern Indiana Arts Association, Munster, Indiana, October
Rowan Collection, Mills College, Oakland, California, October
Altered Objects. Hyde Park Art Center, Chicago, November
Art at the End of the 20th Century. Scottsdale Museum of Art, Scottsdale, Arizona, November
E2K: Elvisions 2000. Intuit Gallery, Chicago, December
Chicago Millennium Program. McCormick Place, Chicago, December
1998 Stills, Permanent Collection, Bard College, March–April
MCA Collects. Permanent Collection, Museum of Contemporary Art, Chicago
Musées de Strasbourg, Strasbourg, France, November
Cleveland Collects. Cleveland Museum of Contemporary Art, Cleveland, November
Pushing Boundaries. University of Cincinnati, October
Chicago Ten. Chicago Athenaeum, Chicago, Dec.–Jan., 1999
1997 Nurturing Visions. Schick Art Gallery, Skidmore College, Saratoga Springs, NY.
Travelled to Gallery of Visual Arts, University of Montana, Missoula, MT; Illinois Art Gallery,
James R. Thompson Center, Chicago; Illinois State Museum, Springfield, IL
Parallel Visions: Contemporary Russian and American Painting. Museum of Art and
Archeology, University of Missouri, Columbia, MO, April 16–June 15
Museo de Arte Contemporanea de Monterrey, Monterrey, Mexico
Hirshhorn Museum, Washinton, DC
Koplin Del Rio Gallery, Los Angeles
Northern Illinois University Gallery, Teaberry Press, DeKalb, IL
Collective Vision. Museum of Contemporary Art, Chicago
Myths and Magic. California Center for the Arts, Escondido, CA
Art in Chicago 1945-95. Museum of Contemporary Art, Chicago
Valparaiso Museum of Contemporary Art, Valparaiso, IN
Boulder Museum of Contemporary Art, Boulder, CO
Art Institute of Chicago, Chicago
Printworks, Chicago
Sogo Museum of Art, Yokohama, Japan
Printmaking in Chicago. Block Gallery, Northwestern University, Evanston, IL, Sept. 27– Dec. 8
Parallel Visions: Ed Paschke and Sergei Sherstiuk. Maya Polsky Gallery, Chicago, March 15–April 10
A Collective Endeavor: Art Fair Seattle 1992-1995. Seafirst Gallery, Seattle
Landfall Press 25 Years. Chicago Art Institute of Prints and Drawings, Chicago
A Game of Chance, A benefit for Breast Cancer. Nov 16 – Jan 1 1998
1996 Elvis & Marilyn, Institute of Contemporary Art, Boston, Nov.–Jan., 1997
1995 Premio Marco. Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico
Selections from the Permanent Collection. Whitney Museum of American Art, New York
Paschke and Protegés. The Lineage Gallery, Chicago
Phyllis Kind Gallery Revisited. The Foster Gallery, University of Wisconsin, Eau Claire, WI
1994 Chicago Imagism: A 25 Years Survey. Davenport Museum of Art, Davenport, IA
A Passionate Perspective: Francis and June Spiezer Collection of Art. Rockford Museum,
Rockford, IL, Oct. 28–Jan. 8, 1995
Ed Paschke and Michiko Itatani. Wright Museum of Art, Beloit College, Beloit, IL
Heads Only. Art Museum of Florida International University, Miami, April 8–May 6
Contemporary Prints from Chicago: New Ideas - New Technique. Shinsegae Dongbang Gallery, Seoul, May
The Real Deal. World Tattoo Gallery, Chicago Oct 31 – Dec 5
1993 Chicago Art Festival. Union League Club, Chicago
The Purloined Image. Flint Institute of Art, Flint, MI, March 28–May 9
Art in the Age of Information. The Pittsburgh Cultural Trust, Pittsburgh
Gifts and Acquisitions in Context. Whitney Museum of American Art, New York
Imagery: Incongruous Juxtapositions. Phyllis Kind Gallery, Chicago, Mar. 5–April 6
Eye Tattooed America. Ann Nathan Gallery, Chicago, June 4–Aug. 14
Art is Life. Museo Dell Turin, Italy
The Return of the Cadavre Exquis. The Drawing Center, New York, Nov. 6–Dec. 18
1992 Quotations: The 2nd History of Art. The Aldrich Museum of Contemporary Art, Ridgefield, CT, May 16–Sept. 20.
Travelled to Wright State University, OH, Oct. 18–Nov. 25
From America's Studio: Twelve Contemporary Masters. The Art Institute of Chicago, Chicago, May 10–June 10
Eight from Northwestern. Evanston Art Center, Evanston, IL
Chicago Imagist Artists. Land's End, WI
The Chicago Imagists: Art with an Edge to It. Lands End Gallery Dodgeville WI. April 23 – June 8
Ripon College Sept. 11 –Oct 15
1991 Spirited Visions: Portraits of Chicago Artists by Patty Carroll. The State of Illinois Art Gallery, Chicago *
Focus on Ed Paschke. Turman Gallery, Indiana State University, Terre Haute, IN
de Persona. The Oakland Museum, Oakland, CA
1990 Portraits of a Kind. Phyllis Kind Gallery, Chicago, IL
1989 Chicago Painters in Print: Brown, Paschke, Hull, Lostutter, Pasin-Sloan, Bramson, Wirsum. Landfall Press,
Speaking Out: Five Centuries of Social Commentary in Printmaking. Telfair Academy of Arts and Sciences,
Human Concern/Personal Torment - Revisited. Phyllis Kind Gallery, New York, Oct. 14–Nov. 8;
Phyllis Kind Gallery, Chicago, Dec. 1–Jan. 6, 1990*
78 th Annual Exhibition: "Chicago". Maier Museum of Art, Randolf-Macon Woman's College, Lynchburg, VA*
Birthday Cake (50 th Anniversary Exhibition). Hyde Park Art Center, Chicago
First Impressions: Early Prints by 46 Contemporary Artists. Walker Art Center, Minneapolis, Minnesota
Made in America. Virginia Beach Center for the Arts, Virginia Beach, Virginia
1988 Chicago. Mayor Museum, Randolf Womens College, Chicago
Committed to Print: an Exhibition of Recent American Printed Art with Social and Political Themes. Museum of Modern Art,New York*
Realisms. The University of Art Museum, University of Wisconsin, Milwaukee, WI
1988: The World of Art Today. The Milwaukee Art Museum, Milwaukee, WI
The Chicago School in the Permanent Collection. Madison Museum of Contemporary Art, Madison, WI,
Aug. 20–Nov. 6
Figure as Subject: The Revival of Figurative Painting Since 1975. The Whitney Museum of
American Art, New York
1987 The Chicago Imagist Print. The David and Alfred Smart Gallery, University of Chicago, Chicago, Oct. 6–Dec. 6
Surfaces: Two Decades of Painting in Chicago—Seventies & Eighties. Terra Museum of American Art, Chicago,
Sept. 12–Nov. 15
Of New Account: The Chicago Imagists. School of Art Gallery, Bowling Green University, Bowling Green, OH
Drawings of the Chicago Imagists. The Renaissance Society of the University of Chicago, Chicago,
Oct. 4–Nov. 14
Made in the USA: An Americanization in Modern Art, the '50's and '60s. The University of California at
Berkeley, CA.
Travelled to the Nelson Atkins Museum of Art, Kansas City, MO; The Virginia Museum of Fine Arts,
Art Against Aids. Phyllis Kind Gallery, New York
1986 Painting at Northwestern: Conger, Paschke, Valerio. Northwestern University, Block Gallery, Evanston, IL
T.V. Generation. Los Angeles Contemporary Exhibitions, Los Angeles
Television's Impact on Contemporary Art. The Queens Museum, Flushing, New York, Sept. 13–Oct. 26
Focus on the Image: Selections from the Rivendell Collection. The Art Museum Association of America,
The Changing Likeness: Twentieth Century Portrait Drawing. Whitney Museum of American Art at Philip Morris,
New York, Aug. 1–Sept. 13
Of New Account Bowling Green Oct 23 – Nov. 20
1985 Contemporary Issues II. Hollman Hall Art Gallery, Trenton State College, Trenton, NJ, March 28–April 18
Illuminating Color: Four Approaches in Contemporary Painting and Photography. Pratt Manhattan Center,
New York; Pratt Institute Gallery, Brooklyn, NY
Psychodrama. Philadelphia Art Alliance, Philadelphia
Political Landscape. Robeson Center Gallery, Rutgers University, Newark, NJ
The Parodic Power of Popular Imagery. Queensborough Community College Art Gallery, Bayside, NY, March.
Travelled to Freedman Gallery, Albright College, Reading, PA, May–June
Sources of Light: Contemporary American Luminism. Henry Art Gallery, Seattle, April 3–May 26
Music of Art. Travelled on Art Train, midwestern tour
The 39th Corcoran Biennial Exhibition of American Painting. Corcoran Gallery of Art, Washington, DC
1985 Biennial Exhibition. The Whitney Museum of American Art, New York*
Drawing Acquisitions from 1981-1985. The Whitney Museum of American Art, New York, June 11–Sept. 22*
Late Twentieth Century Art: Selections from the Sydney and Frances Lewis Collection in the Virginia
Museum of Fine Arts. The Sydney and Frances Lewis Foundation, Richmond, Virginia
1984-87 Large Drawings. Bass Museum of Art, Miami. Travelled to Madison Art Center, Madison, WI;
Norman Mackenzie Art Gallery, Regina, Saskatchewan, Canada; Anchorage Historical and Fine Arts
Museum, AK;
Santa Barbara Museum of Art, CA
1984 Correspondences: New York Art Now. Laforet Museum, Tokyo, Dec.–Jan., 1985
Content: A Contemporary Focus 1974-1984. Hirshhorn Museum and Sculpture Garden, Washington, DC
Selected Gifts from The Joseph and Jory Shapiro Collection. Museum of Contemporary Art, Chicago
New Narrative Painting. Tamayo Museum, Mexico City, Mexico
Strange. Henry Art Center, University of Washington, Seattle
Saints and Sinners. Phyllis Kind Gallery, Chicago April 6-May 2
Disarming Images: Art for Nuclear Disarmament. The Contemporary Art Center, Cincinnati, OH
(travelled to ten Institutions in the US)
An International Survey of Recent Painting and Sculpture. Museum of Modern Art, New York, May 17–Aug. 7
Ten Years of Contemporary Art. General Electric Company, Fairfield, CT
50 Artists/50 States. Fuller Gordeen Gallery, San Francisco
Selections: Art Since 1945. Freeport McMoRan Inc., New York, June–Sept.
Alternative Spaces: A history of Chicago. Museum of Contemporary Art, Chicago, June
American Drawings 1983 from A to Z. Sutton Gallery, New York
Art in the '80's: Post Avant-garde. Johnson Gallery, Middlebury College, VT
Artists Call Against United States Intervention in Central America and the Caribbean. Rhona Hoffman
Gallery, Chicago
Chicago Cross-Section. Trisolini Gallery, University of Ohio, Athens, OH
Ten Years of Collecting at the MCA. Museum of Contemporary Art, Chicago
American Art Since 1970. Whitney Museum of American Art, New York
1983 New American Painting: A Tribute to James and Marie Michener. Archer M. Huntington Gallery,
University of Texas, Austin, TX
A Painting Show/Selections from a Private Collection. Freedman Gallery, Albright College, Reading, PA
On the Leading Edge: Cross-Currents in the Contemporary Art of the Eighties. General Electric and Co.,
20th Century Figural Images on Paper. Weatherspoon Art Gallery, University of North Carolina at
Greensboro, NC. Travelled to Tulane University, NO, Sept. 6–Oct. 4; Gertrude Herbert Memorial Institute
of Art, Augusta, GA, Jan.10–Feb. 7, 1984; Columbus College Art
Gallery, Columbus, GA, Sept. 12–Oct. 9; University of Tennessee, Knoxville, Jan. 7–Feb. 4, 1984;
University of North Carolina, Charlotte, Feb. 10–March 11, 1984
The T.V. Show. Bard College, Annandale-on-the-Hudson, NY
Paintings and Sculptures by Candidates for Art Awards. American Academy for Arts and Letters, New York
Gladys Nilsson, Jim Nutt, Ed Paschke, Suellen Rocca, Karl Wirsum. Galerie Bonnier, Geneva, Switzerland,
Oct.– Nov.
200 Years of American Painting from Private Chicago Collections. Terra Museum of American Art,
Evanston, IL, June 25–Sept. 2
Bodies and Souls. Artists' Choice Museum at Marisa del Re Gallery, New York
Brown, Nutt, Paschke. Rudolf Zwirner Gallery, Cologne, Germany
What Artists Have to Say About Nuclear War. Nexus Gallery, Atlanta
New York Painting Today. Carnegie Institute, Pittsburgh
Intoxication. Monique Knowlton Gallery, New York, April–May 7
Looking at Women: Images of Women by Contemporary Artists. Artemisia Gallery, Chicago
Art on the Edge. Arc Gallery, Chicago
Contemporary Chicago Images. Wesleyan University, Bloomington, IL
Dialect = Dialectic: A Group Show of Artists with Complex Individual Vocabularies. Phyllis Kind
Galleries, New York and Chicago
Made in Omaha. Joslyn Museum, Omaha, NE, May 14–June 18
Minimalism to Expressionism, Whitney Museum of Art, June 2 – Sept. 18
1982 From Chicago. The Pace Gallery, New York, Jan. 15–Feb. 13
Flip! Flash! Pinball Art! The Chicago Public Library Cultural Center, Chicago July 30 – Oct. 9
Traveled to John Michael Kohler Arts Center, Sheboygan, WI Jan 16 – Feb. 13 1983
Focus on the Figure: 20 Years. Whitney Museum of American Art, New York
Recent Directions. Milwaukee Art Museum, Milwaukee
Selections from the Dennis Adrian Collection. Museum of Contemporary Art, Chicago, Jan.30–March 14
Chicago Imagists. Kansas City Art Institute, MO; travelled to Saginaw Art Museum, MI
Illuminations. Dancer Fitzgerald Sample Inc., New York. Travelled to General Electric and Company,
Fairfield, CT; Freeport McMoRan, Inc., New York
Contemporary Prints: The Figure Beside Itself. University of Massachusetts, Amherst, MA
Hot Chicago. Douglas Drake Gallery, Kansas City, MO
1981 1981 Biennial Exhibition. Whitney Museum of American Art, New York, Jan. 20–April 19
Contemporary Artists. Cleveland Museum of Art, Cleveland, OH, Oct. 21–Nov. 29
The Figure: A Celebration. Art Museum of South Texas, Corpus Christi, TX, Nov. 5–25.
Travelled to University of North Dakota Art Gallery, Grand Fork, ND
The Anxious Figure. Semaphore Gallery, New York, Sept. 10–Oct. 3
New Dimensions in Drawing. Aldrich Museum of Contemporary Art, Ridgefield, CT
American Paintings 1930-1980. Haus der Kunst, Munich, Nov. 14–Jan. 31, 1982
Landfall Press 1970-1980. Travelling exhibition circulated by the United States International
Communication Agency, Feb.–June, 1982
Center Ring: The Artist. Two Centuries of Circus Art. Milwaukee Art Museum, Milwaukee, WI,
May 7–June 28. Travelled to Columbus Museum of Art, Columbus, OH; New York State Museum,
Albany, New York; The Corcoran Gallery of Art, Washington, D.C.
InsideOut: Self Beyond Likeness. Newport Harbor Art Museum, Newport Beach, CA, May 22–July 12.
Travelled to Portland Art Museum, Portland, OR; Joslyn Museum, Omaha, NE, Feb. 13–April 4
Prints and Multiples: 79th Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago,
Chicago, July 4–Aug. 16. Travelled to The National Academy of Design, New York; National Museum
of American Art, Washington, D.C.; Portland Art Museum, Portland, OR; State Museum, Springfield, IL;
Lakeview Art Museum, Peoria, IL; University Museum, Southern Illinois University, Carbondale, IL;
Quincy Art Center and Quincy Fine Art Society, Quincy, IL
Northern Illinois Artists, Triton Fine Arts Gallery presented by Illinois Bell, Feb 27 – Mar 20
1980-82 Who Chicago? An Exhibition of Contemporary Imagists. Camden Arts Centre, Engalnd,
Dec. 10–Jan. 25, 1981. Travelled to Ceolfrith Gallery, Sunderland Arts Centre, London;
Third Eye Gallery, Glasgow; Scottish National Gallery of Modern Art, Edinburgh; Boston
Museum of Fine Arts, Boston; Contemporary Arts Center, New Orleans
1980 Some Recent Art from Chicago. Ackland Art Museum, University of North Carolina at Chapel Hill,
Chapel Hill, NC, Feb. 2–March 9
Selections from the Collection of George M. Irwin. Krannert Art Museum, University of Illinois-
Urbana-Champaign, Champaign, IL, March 13–April 27
Master Prints from Landfall Press. The David and Alfred Smart Gallery, The University of Chicago,
Chicago, March 13–April 27
The Social Mirror: Selections from the Illinois Bell Collection. The Lobby Gallery, Illinos Bell, Chicago,
April 3–May 16
Collaborations. Mary and Leigh Block Gallery, Northwestern University, Evanston, IL, Sept. 28–Oct. 26
Six Artists From Chicago. James Mayor Gallery, London
Images. Proctor Art Center, Bard College, Annandale-on-the-Hudson, NY
Chicago Artists. Mitchell Museum, Mt. Vernon, IL, Nov. 1–Jan. 4, 1981
Professors of Art in Northern Illinois. The Lobby Gallery, Illinois Bell, Chicago, Nov.17–Dec. 17.
Travelled to Burpee Art Museum, Rockford, IL; Highland Park Public Library, Highland Park, IL;
Fine Arts Gallery, Triton College, River Grove, IL; Libertyville Arts Center, Libertyville, IL
1979 Contemporary Images: Selections from the Student Association Art Collection. Holmes Student
Center Gallery, Northern Illinois University, DeKalb, IL, April 16–28
American Portraits of the Sixties and Seventies. The Aspen Center for the Visual Arts, Aspen, CO,
June–Aug.
International Exposition d'Art. Paris
Chicago Currents: The Koffler Foundation Collection. National Collection of Fine Arts,
Smithsonian Institution, Washington, D.C.; travelling exhibition
100 Artists 100 Years: Alumni of The School of The Art Institute of Chicago. Centennial Exhibition.
The Art Institute of Chicago, Chicago, Nov. 23–Jan. 20, 1980
1978 Eleven Chicago Painters. Florida State University Gallery, Tallahassee, FL, Feb. 12–March 3
Chicago: The City and its Artists 1945-1978. The University of Michigan Museum of Art, Alumni Hall,
Ann Arbor, MI, March 17–April 23
Contemporary Chicago Painters. University of Northern Iowa Gallery of Art, Cedar Rapids, IA, April 2–30
Chicago Collects Chicago. Gallery 200, Visual Arts Building, Northern Illinois University, DeKalb, IL,
Chicago: Self-Portraits. Nancy Lurie Gallery, Chicago, March 31–May 6
Works on paper: 77th Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago,
Chicago, Sept. 30–Dec. 3
Salon de Mai. Grand Palais, Paris, May
The Art of Playboy: The First 25 Years. The Chicago Public Library Cultural Center, Chicago,
Dec. 20–Jan. 20, 1979
1977 Critic's Choice. Union Gallery, Purdue University, West Lafayette, IN, Jan. 10–28
Contemporary Figurative Painting in the Midwest: An Invitational Exhibition at the Madison Art Center.
The Madison Art Center, Madison, WI, Feb. 26–April 10
Recent Portraiture. The Renaissance Society at the University of Chicago, Chicago, Feb. 27–April 2
35th Society for Contemporary Art Exhibition: Drawings of the 70's. Society for Contemporary Art,
The Art Institute of Chicago, Chicago, March 9–May 1
A View of a Decade. Museum of Contemporary Art, Chicago, Sept. 10–Nov. 10
Masterpieces of Recent Chicago Art. The Chicago Public Library Cultural Center, Chicago, Oct. 3–Nov. 2
Artists View the Law in the 20th Century. The David and Alfred Smart Gallery, The University of Chicago,
Chicago, Oct. 5–Nov. 27
Chicago '77. Ohio State University Gallery of Fine Art, Sullivan Hall, Columbus, OH, Nov. 1–Dec. 7
13th Weatherspoon Annual Exhibition: Art on Paper 1977. Weatherspoon Art Gallery, The University of North
Carolina at Greensboro, Greensboro, NC, Nov. 13–Dec. 18
Recent American Painting. University Art Museum, University of Texas, Austin, TX
Landfall Press: A Survey of Prints (1970-1977). Museum of Contemporary Art, Chicago, Nov. 18–Jan. 8, 1978
1976 Hyde Park Art Center Retrospective Exhibition: Historic Panoramic Abra Cadabra. Hyde Park Art Center,
Chicago, Feb. 20–April 3
Painting and Sculpture by Midwest Faculty-Artists. Krannert Art Museum, University of Illinois-
Urbana-Champaign, Champaign, IL, April 4–May 2. Travelled to Indiana University Art Museum,
Bloomington Campus, Bloomington, IL
Visions. Painting and Sculpture: Distinguished Alumni 1945 to the Present. The School of the Art Institute
of Chicago, Chicago, Oct. 7–Dec. 10
FIAC '76: 3eme Foire Internationale d'Art Contemporain. Grand Palais, Paris, Oct. 16–24
Koffler Foundation Collection. The Illinois Arts Council, travelling exhibition
Chicago Art. Memorial Union Gallery, Purdue University, Lafayette, IN
Indiana-Illinois Bicentennial Painting Exhibition. Northern Indiana Arts Association Art Center, Hammond, IN
The Chicago Connection. E.B. Crocker Art Gallery, Sacramento, CA, Nov. 6–Jan. 2, 1977.
Travelled to Newport Harbor Art Museum, Newport, CA; Phoenix Art Museum, Phoenix, AZ;
Brooks Memorial Art Gallery, Memphis, TN; Memorial Art Gallery, University of Rochester, Rochester, NY
1975 The Classic Revival. Lakeview Center for the Arts, Peoria, IL, Oct. 26–Nov. 30
Print Exhibition. The Baltimore Museum of Art, Baltimore, MA
Illinois State Museum of Natural History and Art, Springfield, IL
North, East, West, South and Middle: An exhibition of contemporary American drawings.
Moore College of Art Gallery, Philadelphia, PA, Feb. 28–April 4. Travelled to Pratt Graphics Center,
New York; Corcoran Gallery of Art, Washington, D.C.; The Fort Worth Art Museumk, Fort Worth, TX;
La Jolla Museum of Contemporary Art, La Jolla, CA
Illinois Artists '76: A Bicentennial Invitational Exhibition. Center for the Visual Arts Gallery, Illinois
State University, Normal, IL, Nov. 30–Jan. 4, 1976. Travelled to Illinois State University, Bloomington, IL;
Lakeview Center for the Arts and Sciences, Peoria IL; Illinois State Museum, Springfield, IL
1974 The Chicago Style: Painting. Arts on The Midway Program, Center for Continuing Education,
University of Chicago, Chicago, Jan. 13–Feb. 16
The Chicago Style: Drawings. Arts on The Midway Program, Center for Continuing Education,
University of Chicago, Chicago, March 3–April 6
Contemporary American Painting and Sculpture 1974. Krannert Art Museum, University of
Illinois-Urbana-Champaign, Champaign, Illinois, March 10–April 21
Seventy-first American Exhibition. The Art Institute of Chicago, Chicago, June 15–Aug.11
Contemporary American Paintings from the Lewis Collection. Delaware Art Museum,
Wilmington, Delaware, Sept. 13–Oct. 27
Contemporary Still Life. The Renaissance Society at University of Chicago, Oct. 6–26
Nineteenth National Print Exhibition. The Brooklyn Museum, Brooklyn, New York. Nov. 20–Jan. 5, 1975.
Travelled to Fine Arts Gallery of San Diego, San Diego, CA
Seventy-fifth Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago, Chicago,
Made in Chicago. National Collection of Fine Arts, Smithsonian Institution, Washington, D.C.,
Oct. 31–Dec. 29. Travelled to Museum of Contemporary Art, Chicago (in 1975)
1973 1973 Biennial Exhibition: Contemporary American Art. Whitney Museum of American Art, New York,
Jan. 10–March 18
Chicago Imagist Art: Drawings—A Postscript. The Lobby Gallery, Illinois Bell, Chicago, Feb. 1–March 9
Seventy-fourth Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago, Chicago,
March 30–May 6
XII Bienal de Sao Paulo: Made in Chicago. Museu de Arte, Sao Paulo, Brazil, Oct.–Nov.
The Chicago Style: Prints. Arts on The Midway Program, Center for Continuing Education,
1972-73 What They're Up To In Chicago/Peintre, heure de Chicago. Travelling exhibition circulated
by the Extension Services of the National Gallery of Canada, Ottawa
1972 Chicago Imagist Art. Museum of Contemporary Art, Chicago, May 13–June 25. Travelled to The New York
Cultural Center, New York
The Society for Contemporary Art. The Art Institute of Chicago
Painting and Sculpture Today 1972. Indianapolis Museum of Art, Indianapolis, IN, April 26–June 4
32nd Society for Contemporary Art Exhibition: Contemporary Works of Art. Society for Contemporary
Art, The Art Institute of Chicago, Chicago, May 16–June 25
1971 National Invitational Drawing Exhibit. Mitchell Gallery, Southern Illinois University at Carbondale,
Carbondale, IL, Feb. 14–March 11
Each in his own way: The commemorative art collection of the Florist's Transworld Delivery Association.
The Museum of Science and Industry, Chicago, Feb. 18–March 14
Chicago Antigua. Hyde Park Art Center, Chicago, Hyde Park Art Center, Chicago, March 19–April 17
Arts USA: 2. Visual Arts Building Gallery, Northern Illinois University, DeKalb, IL, April 17–May 2
31st Society for Contemporary Art Exhibition: Works on Paper. Society for Contemporary Art,
The Art Institute of Chicago, Chicago, April 27–May 30
III Bienial International del Deporte en Las Bellas Artes. Barcelona, Spain, April–May
1970 Marriage Chicago Style. Hyde Park Art Center, Chicago, Feb. 13–March 14
Painting and Sculpture Today. Indianapolis Museum of Art, Indianapolis, IN, April
30th Society for Contemporary Art Exhibition. Society for Contemporary Art, The Art
Institute of Chicago, Chicago, April 22–May 24
Surplus Slop from the Windy City. San Francisco Art Institute, San Francisco; travelled to
Sacramento State College Art Gallery, Sacramento, CA
Thirteen Chicago Artists. Richard Feigen Gallery, New York, November
Richard Hamilton Show. Tate Gallery, London
1969-1970 Human Concern/Personal Torment: The Grotesque in American Art. Whitney Museum of
American Art, New York, Oct. 14–Nov. 30, 1969. Travelled to University Art Museum,
University of California, Berkeley, CA.
1969 Chicago Print Show. Allan Frumkin Gallery, Chicago, Jan. 3
Nonplussed Some Some More. Hyde Park Art Center, Chicago, Feb. 21–March 29
Don Baum Sez "Chicago Needs Famous Artists". Museum of Contemporary Art, Chicago, March 10–April 13
Seventy-second Annual Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago,
The Spirit of the Comics. Institute of Contemporary Art, University of Pennsylvania, PA, Oct. 1–Nov. 9
Art by Telephone. Museum of Contemporary Art, Chicago, Nov. 1–Dec. 14
Famous Artists. Institute of Contemporary Art, University of Pennsylvania, PA
1968 American Drawing 1968. Moore College of Art, Philadelphia, PA, Jan. 13–Feb. 16
Nonplussed Some. Hyde Park Art Center, Chicago, Feb. 16–March 22
Response. Special Chicago Artists' Response and Robert Snyder and Associates, Chicago, Nov. 2
National Print and Drawing Exhibition. Northern Illinois University, DeKalb, IL
Violence in Recent American Art. Museum of Contemporary Art, Chicago, Nov. 8–Jan. 12, 1969
1967-1969 Six Illinois Painters 67/69: Arcilesi, Ito, Lanyon, Paschke, Rosofsky, Wirsum.
The Illinois Arts Council, travelling exhibition, October 1967–October 1969
1967 Seventieth Annual Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago, March 3–April 2
1966 Sixty-ninth Annual Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago, April 1–May 1
1965 Phalanx 3. Phalanx and Herman Hall, Illinois Institute of Technology, Chicago. Nov. 14–Dec. 17
1962 65th Annual Exhibition by Artists of Chicago and Vicinity. The Art Institute of Chicago, Chicago,
May 4–June 3
1961 First Biennial of Prints, Drawing and Watercolors. The Art Institute of Chicago, Chicago, Dec. 8–Feb. 18, 1962
1958 1958 Chicago Artists Exhibition. The Art Institute of Chicago and Chicago Art Organizations,
North Exhibition Hall, Navy Pier, Chicago, June 14–29
Ed Paschke, Chicago Underground. Suzanne Tarasieve, Paris, France, 2018
Ed Paschke, Visionary From Chicago 1968-2004, Hall Art Foundation, 2015, The Ashmolean Museum, Oxford. (ISBN:978-0-9896069-4-3)
Ed Paschke. Mary Boone Gallery. New York, New York, 2014. (ISBN 978-0-9801715-6-3)
Ed Paschke. Curated By Jeff Koons, Gagosian Gallery, 2010
Electronicon. Michael Dunbar & Marc Paschke, Chicago History Museum Retrospective, Lewis and Clark Community Foundation Press, 2007 (ISBN 978-0-9794122-0-2)
Ed Paschke. Neal Benezra et al, The Art Institute of Chicago, Hudson Hill Press, 1990
(ISBN 0-86559-084-2)
Biennial Exhibition, Whitney Museum of American Art. 1985, exh. catalogue by Tom Armstrong et al, New York, 1985;
Profile. Volume 3, 1983, student publication, by Lyn Blumenthal, Kate Horsfield and Chris Strayer
Ed Paschke: Selected Works 1967-1981. The Renaissance Society of the University of Chicago, (ISBN 0-941548-01-5)