Model Dealer

Harry Schwalb
ARTnews, Summer 1998

Galerie Darthea Speyer, Paris

Paving stones were flying through the air, and galleries were rapidly closing down amid the turmoil of 1968, when Pittsburgh heiress Darthea Speyer decided to open her Paris gallery on the Left Bank. Recently Speyer commemorated the survival and 30th anniversary of the space-designed by her brother, James, on rue Jacques-Callot-with nothing less than a celebration of herself, featuring portraits of her by the artists she has represented.

Speyer-who'd earlier been in charge of exhibitions at the United States embassy in Paris and organized newsmaking shows introducing the likes of Edward Hopper and David Smith to Europe in the 1950s and later Leon Golub and Ed Paschke-appeared in oil, bronze, plaster, fabric, and even fur.

Man Ray captured her in minuscule photographs, while Roseline Granet sculpted her larger than life. Paschke did her in characteristic neon tones. And Peter Saul conceived her as a bright pink nude sprawled on a paint-splattered palette. Peggy Guggenheim would have been envious.

NO FUMARE, POR FAVORE 1997
Ed Paschke et (art)n: Ellen Sandor, Stephan Meyers et Janine Fron

50.8x61cm réalisation par "Post-toile PHSCologramme," conception assist¡é par ordinateurcouches successives de Duratrans et Kodalith insérées sur plexglas, encadrèes dans une boóte lumineuse mètallique

L'au-del de la surface picturale du peintre n'a jamais été aussi animé. C'est une collaboration très intense qui réalise la synthèse d'idées et de technologies.

Ed Paschke & propos de (art)n, septembre 1997

"Post-Toile PHSCologrammes" - PHSC associe des aspects de la photographie, de l'hologramme, de la sculpture et du graphisme informatique. Le résultat est une forme unique de collaboration artistique : avec une toile en mêmoire, le tableau est reconstruit d'une façon globale.

Ellen Sandor s'est inspirée d'un tableau de Paschke de 1979 Fumar. Paschke a réalisé les textures de No Fumare la main et par ordinateur avec une palette électronique et un stylet. Ces textures virtuelles qui évoquent des tatouages, ont été appliqués un buste, sculpture "ready-made" virtuelle et transparente, et juxtaposés sur un fond de visualisation scientifique, coloré de particules teintés. L'image numèrisé de Fumar apparaït la fois en tant que reflet et métaphore l'intérieur de la titre de sujet.

Fumar, 1997, Ed Paschke, 60"x46"oil on canvas from the Sandor Family Collection; Art in America cover for Richard Vine's Where the Wild Things Were [Art in Chicago] article, May 1997

No Fumare por Favore has been purchased by many collectors, including Elton John, and is the first example of Chicago Imagism presented by the United States Art in Embassies Program:

No Fumare por Favore has been successfully installed in the office of the Honorable John Kornblum, United States Ambassador to the Federal Republic of Germany (Bonn). This outstanding work of art effectively communicates the richness of U.S. art and culture.

Gwen Berlin
Director
Art in Embassies Program, United States Department of State