Acquisition
1970

Ed Paschke
American, 1939-2004
Mid American, 1969
Oil on canvas
45 x 60 in. (114.3 x 152.4 cm)
The Artist
currently on display at the
Art Institute of Chicago
- Adolph Gottlieb
- Doug Aitken
- Josef Albers
- Alexander Calder
- Ghada Amer
- Carl Andre
- Richard Artschwager
- Bill Viola
- Lee Bontecou
- Paul Caponigro
- Paul Chan
- Francis Chapin
- Charles Sheeler
- Christo
- Larry Clark
- Dan Flavin
- Dan Graham
- David Aronson
- Jimmie Durham
- Edwin Dickinson
- Nicole Eisenman
- Ellsworth Kelly
- General Idea
- George Mueller
- Ger van Elk
- Leon Albert Golub
- Gregorio Prestopino
- Philip Guston
- Hans Hofmann
- Gary Hume
- Irene Rice Pereira
- James Lechay
- Jim Dine
- Jasper Johns
- Joseph Raffael
- Donald Judd
- Jules Olitski
- Julian E. Levi
- June Leaf
- Alex Katz
- Guillermo Kuitca
- Kurt Seligmann
- Lorna Simpson
- Roberto Matta
- Joan Mitchell
- Matthew Monahan
- Robert Morris
- Osvaldo Louis Guglielmi
- Nam June Paik
- Ed Paschke
- Jackson Pollock
- Raoul Hague
- Reinhard Mucha
- Bridget Riley
- Doris Salcedo
- Julian Schnabel
- Sean Sean Scully
- Ben Shahn
- Paul Sharits
- Siah Armajani
- David Smith
- Bob Snyder
- Yutaka Sone
- Nancy Spero
- Hedda Sterne
- Rudolph Stingel
- Jessica Stockholder
- Tacita Dean
- Wolfgang Tillmans
- Rosemarie Trockel
- James Turrell
- Danh Vo
- Wayne Thiebaud
- Martin Wong
- Christopher Wool
Ed Paschke was a member of the late-1960s Chicago Imagist movement, a group of artists whose expressive style of figurative painting was rooted in outsider art, popular culture, and Surrealism. Their art added heat to Pop Art’s cool aesthetic.
The Acquisition
Mid American, an early painting that Paschke reworked several times, exemplifies the artist’s characteristic style, which utilized luminous, electric colors and fantastic imagery, yet remained rooted in a gritty realism. The confrontational, satin-robed athlete appears playfully otherworldly, with enlarged wing-tipped spats—a significant precursor to Paschke’s later shoe paintings—that emerge like butterfly wings behind his shoulders. The inscription on his shorts, Our Cover—like the tattoo on his chest, the mask on his face, the baseball mitts that float next to him, and his athletic attire—suggests the social markings used to conceal, protect, and layer a middle-class, middle-American identity.