New York

Ed Paschke

Phyllis Kind Gallery

Ed Paschke’s new paintings are full of art about art references—Leonardo da Vinci’s Mona Lisa and Diego Velázquez’s Juan de Pareja are quoted—but, as always in appropriation art, the attitude toward the borrowed imagery counts as much as the iconography itself. Paschke’s appropriations are characterized by his peculiarly lurid color and the incorporation of small tributary figures—the upper bits of angles, or the heads of black youths. Paschke has always been interested in the bizarre telling detail. The black bands blocking the eyes of his angels, which suggest they are X-rated, and the flattop haircuts sported by the youths serve the same purpose as the leather ornament and tattooing of earlier works. Both are socially sanctioned signs and outlets of perversity.

The telltale outline of a TV screen that appears in several works suggests a favorite Paschke device—the picture within the

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.