Monday, December 20, 2021

TROUBLE VOL 1 No. 3 DEC 2021 - Denver Street Talk

I was asked by artist publisher Matthew Rose to send a selection and essay on Denver's street art. My focus was on work near and dear in my orbit and eye-catching work with a strong message and fine craft. I sent several hundred images that they had to painfully trim down to a dozen or so. The editors were overwhelmed by the quality of the work sent, Cheers to the artists and the institutions that support us. This assignment inspired me to work on a larger and more far-reaching survey and documentation of our current state of street art. This small personal overview is just a tiny sample of Denver's multileveled street art community. I have hundreds of more artists to share.

For now ......
TROUBLE VOL 1 No. 3 DEC 2021


Fabric head - Tiana Graves @tea_ah_nuh at the @thetempledenver - @the_big_picture_colo




 Mendala bomb -  @Johnathan.Saltz and @plusdashplush at Crema Cafe @crema_dnvr -  @rinoartdistrict

Disability Rights -  Valerie Rose @hellovalerieros and blind artist Duplessis Art @duplessis.art - @rinoartdistrict

Snake head-  Casey Kawaguchi  @caseykawaguchi  @rinoartdistrict




HOPE - Koko Bayers @kokonofilter - @rinoartdistrict

Red Handshake - @theunpersonproject -  @susana_moyaho & @andreatejedak - @the_big_picture_colo

Spray painting - Thomas Evans - @detour303 - @rinoartdistrict

Crowd laying down protesting Denver - Jenna Rice - I Cant Breath - @redricephoto - @the_big_picture_colo



                                                


White cutout figures - @theunpersonproject -  @susana_moyaho & @andreatejedak

@the_big_picture_colo

Profile with notes - Sandra Klein - Inner Memories - @sandra_klein_photography - @the_big_picture_colo




Power and Equality - Shepard Fairey @obeygiant - @rinoartdistrict

LHOOQANON - Atomic Elroy @atomicelroy - @the_big_picture_colo




Gold Halo -Thomas Evans - @detour303 - @rinoartdistrict

Group wheat paste wall -  Marna Clarke Photography @marnaclarke Anissa Malady @lbryvxn @scrawledinthemargins - Ron Cooper- Kristen Hatgi kristenhatgisinkphoto - @the_big_picture_colo




Alley captures untitled various artists .. center photo image of back East Side Juan Fuentes @thewritejuan   @rinoartdistrict - @the_big_picture_colo

Last image: Alley captures of untitled various artists - @rinoartdistrict



TROUBLE VOL 1 No. 3 DEC 2021... The Merry Xmas Climate Change Disaster Issue with Obits & Cartoons! Free! 


 Enjoy! Be safe! Be kind to each other! Please share. 

trouble
trouble is a magazine
it appears three to four times a year
it's mostly about trouble
http://concretewheels.com/trouble/trouble.htm

Thank you, Matthew Rose 
@mistahcoughdrop

#Denverstreetart


More information on the artists and Denver's resources for street art support submission opportunities:


https://rinoartdistrict.org/art/murals

https://denverpublicart.org/public-arts/

https://www.instagram.com/the_big_picture_colo

https://www.redlineart.org/

https://www.instagram.com/thetempledenver

https://cpacphoto.org/

#wheatpaste



Denver: Street Talk


Denver is the no coast art city. Land-locked, a mile high, surrounded by mountains and inhabited by hippies, artists, hedge fund traders and snowboarders (among others), Denver might have more street art plastered and painted on its buildings and alleyways than other city in America (aside from New York, perhaps). I am sharing but a tiny sample.


Throughout the last fifty years, Denver’s vibrant visual culture has been born and reborn out of a hands-on free expression wild west independence. In this spirit, a true DIY underground culture emerged braced by dozens of art centers, galleries and museums across the city (and the state). Young people found a voice in art and music and performance fully

supported by the city. Rhinoceropolis was such an incubation venue that inspired countless young creatives more than any art or scholastic institution in the region.


Sadly Rhinoceropolis recently shuddered, a victim of gentrification. An age old story: Artists arrive first, followed  by real estate developers; mass exodus of artists who can no longer afford to live in their chosen neighborhoods. Rhinceropolis foreshadowed and inspired the art district named RINO (River North) where hundreds of street artists and the creative class now flourish; but many artists are now are in the retreat.


Currently, though, a wide range of street art is healthy in Denver, thanks to generous support by RINO Art District, RedLine Community Center, The Temple Artist Haven and The Big Picture wheat paste street art project.


In early December I took a long walk around the RINO Art District to explore and catch up on its current street art.  In one alley I smelled fresh spray paint in the air and I came upon one of our most celebrated street artists “Detour.” This spray can genius was just starting a new portrait and a crowd had formed to watch him unwind his magic.


Like most modern western cities, Denver is experiencing growing pains in all aspects of its economic and social and cultural bones. In that process, cultural incubation centers are typically the first to be pushed out. But some developers have begun to understand the importance of art and culture on the city walls – and even figured out how to profit by using artists and their talent in creating value in revitalizing neighborhoods, adding a hip and fresh take on buildings and generating a new atmosphere in developments, that ironically, artists could never afford.


Marrying a developer's interests and income with an artist’s nature for tattooing social consciousness on the city’s skin, has made for an uncomfortable but compelling visual – and reality. Street art in Denver is living that fine line.


The future for all this marvelous visual poetry remains a question mark. Will developers change their minds and whitewash it all? Will the city suddenly turn on its artists and pass an ordinance outlawing such artwork? We hope not. I passionately believe we do need to nurture culture and let DIY spaces incubate emerging talent. 


– Mark Sink, Denver, Colorado. December 2021


@marksink   www.gallerysink.com





Friday, December 3, 2021

Aspen Times - In Aspen with Andy Warhol

 Aspen Times December 3rd, 2021

In Aspen with Andy Warhol

Denver photographer Mark Sink discusses his local adventures with Andy Warhol

Andrew Travers    atravers@aspentimes.com



Photographer Mark Sink calls this portrait “Andy Warhol, Mountain Man.” Shot during a visit to celebrate New Year’s 1982-83. (Mark Sink)

Pop artist Andy Warhol’s many visits to Aspen will get a lot of attention this winter, as the Aspen Art Museum hosts the massive, museum-wide survey “Andy Warhol: Lifetimes” (opening Friday, Dec. 3).

“Andy Warhol: Lifetimes”

Aspen Art Museum

Opening Friday, Dec. 3 (through March 27, 2022)

aspenartmuseum.org


Warhol was here as early as 1956, at the outset of his exhibiting career, when he hung what is believed to be his first show outside of New York City at the Four Seasons in Aspen. He kept coming back through the 1980s, including a run of New Year’s Eve visits from 1981 to 1984 — snowbound and celebrity-studded adventures, which he documented meticulously in his diaries.


Denver-based photographer Mark Sink was a frequent companion to Warhol on his Aspen visits and worked with Warhol in New York and at Interview magazine for about seven years after a charmed meeting during Warhol’s summer 1981 Colorado visit.


In anticipation of Aspen’s winter of Warhol, I recently drove to Denver to meet Sink and talk about his Warhol days in Aspen and beyond. Seated in a nook of the home he bought shortly after Warhol’s 1987 death when Sink return to Colorado, with an afternoon breeze blowing in, he browsed a photo album of images from the Warhol years.


Sink, now 62, may be one of the great conversationalists in the Rockies, sharing stories and asides, occasional barbs and frequent creative insights. He’s enjoying looking back these days, sorting through his own journals and photos for an ongoing book project about his years at the red hot center of contemporary art and Warhol’s scene.

“I’m in legacy mode,” he said. “I’d just like the proof that I was there.”

Sink had unique insight into the mix of glam and genius that was Warhol’s ‘80s milieu, photographing Warhol at work, assisting him on projects and accompanying him on some legendary nights (he had his camera along for a dinner with Warhol, Mick Jagger and Keith Richards at the Odeon in Manhattan during its 80s heyday).

It all started four decades ago on the campus of Colorado State University in Fort Collins.

Sink, 22, was putting himself through school at Metro State University in Denver, developing a photography practice and racing bikes while soaking up what he could of the art scene from Denver (including going to see Warhol movies at the indie cinemas on Broadway, he recalled). When a friend told him Andy Warhol was coming to talk at Colorado State in late summer 1981, Sink knew he had to be there.

Warhol had come to Carbondale and Aspen to visit collectors and friends John and Kimiko Powers before heading to the school for a talk and the opening of a solo exhibition there. (Warhol also visited The Aspen Times newsroom on that visit, a story for another day.)

Emboldened by his youth, Sink poked around campus hoping to find Warhol and, by chance, he did: the iconic visage, in sunglasses and wig, seated all alone in a classroom signing posters of his famed society portrait of Kimiko Powers, his handlers having run out to get coffee or food.



Warhol after digging out from the New Year’s Day 1983 snowmobile crash. “He was so happy to be there,” photographer Mark Sink recalled. (Mark Sink)

Sink simply sat down and started helping Warhol sign them and they got to talking about Sink’s photography and life in Colorado. A sleekly built and muscular mountain kid, Sink tantalizingly pulled down his shorts to show off a gnarly road rash from a bike crash that ran down the length of his right side-body and hip. Warhol was intrigued.

“He said, ‘Oh, you do photography? Interview is my greatest magazine,’” Sink recalled. “I said, ‘I wish it was more in color’ and he said, ‘Oh! You should work for Interview!’ I was on the masthead the next month.”

Warhol would soon invite Sink to New York to work in The Factory and shoot for Interview.

Sink also served as a sort of mountain ambassador for Warhol, joining on multiple trips to Aspen. The trips included skiing Panda Peak — where Warhol spotted baseball star Reggie Jackson — and shopping and party-hopping.

Sink was among the Warhol Aspen entourage who rang in 1983 at Jimmy Buffett’s “all country-western” New Year’s Eve party that included Jack Nicholson with Anjelica Huston, Barry Diller and Diana Ross.

But Sink’s memories include more modest evenings, like TV dinners and heated glazed donuts at Baby Jane Holzer’s place on Castle Creek Road or going out for Mexican at La Cocina.

On New Year’s Day 1983, the group went snowmobiling in the Maroon Creek Valley, with Warhol and boyfriend Jon Gould at one point crashing off a cliff (there were no major injuries).



Jon Gould and Andy Warhol on their snowmobile outing from T-Lazy-7 Ranch up the Maroon Creek Valley on Jan. 1, 1983. (Mark Sink)

“I thought Jon was trying to kill me,” Warhol wrote in his diary.

The incident is memorably documented in Sink’s photos of a giddily smiling Warhol digging out from the crash. (Sink is proud that so many of his photos show Warhol smiling and “unguarded.”)


“I had zoomed past Andy and Jon dragging my hand in the snow,” Sink wrote of the snowmobile incident. “This caused snow to cover Jon’s goggles; he lost control crashing off a cliff with Andy falling off the back.”


Warhol was often baffled by the mountain lifestyle Sink embodied. During one Aspen trip, Sink and a friend did an overnight ski mountaineering trip to East Maroon Pass. When they returned from the winter camping trip, Warhol insisted they were playing a joke on him.


“Andy just wouldn’t believe it,” Sink recalled. “He insisted, ‘You weren’t sleeping out there. It’s like zero degrees out there.’”



Warhol attempting to get back to the trail after a New Year’s Day snowmobile crash with boyfriend Jon Gould. (Mark Sink)

Some of the decadence of the Aspen trips rung empty, though: “Andy was kind of bored. I saw him as, like, a bored wealthy housewife looking for glamorous things to do.”


Young and brash and interested in his own path as an artist, Sink resisted the pull to give over his whole life to Warhol even after he went to New York.


“I didn’t want to be one of the hanger-on Factory kids,” Sink said.


He kept his independent photography practice and found success in photographing artwork and artists of the day (Jean-Michel Basquiat, Keith Haring and Rene Ricard were among his subjects). He shot for Interview and Circus magazine and took on projects under Warhol. He wonders now how much more he might have learned had he gone full-bore at the Factory.


“If I could do it all again, I think I’d just go be a Factory kid,” he said. “I’d park there like, ‘Whatever you need, I’m here.’”


The more time he spent in Warhol’s orbit, the more depth he found in the man and artist.

“After a while I started to see the genius in Andy,” he said. “His brilliance in his art knowledge, in art history, the genius in the Factory and mass production and our new culture — so far ahead of our era of reality TV shows with Andy Warhol TV. Eventually it came over me, like, ‘Holy shit, this guy is really so far ahead of the curve on everything.’”


Settling back in Denver in the grim aftermath of Warhol’s death, Sink would become one of Denver’s most prominent portrait photographers and arts leaders. He co-founded the Museum of Contemporary Art Denver in 1996, helped spearhead the RedLine Contemporary Art Center in 2008 and is now growing into an elder statesman of a booming Denver art scene.


If Warhol hadn’t gotten behind him, he’s unsure how his life might have gone.


“I learned from Andy to believe in myself,” Sink said. “He championed me. I was just this Denver, Metro State kid. To have those doors opened up was so important, it showed me it was a big world out there.”

https://www.aspentimes.com/news/in-aspen-with-andy-warhol/

atravers@aspentimes.com


Friday, October 1, 2021

CHERRY CREEK FASHION Talks to Mark Sink

 



CHERRY CREEK FASHION

 

Legendary Artist & Photographer Mark Sink Talks About His Method, Warhol, Basquiat and Grace Jones

PHOTOGRAPHED BY ESTHER LEE LEACH

WRITTEN BY STEPHANIE RICHARDS // CONTRIBUTING WRITER

Oct 1st 2021, Denver Colorado

There are many legends alive and well in Denver, but perhaps none so expansive and vibrant as photographer Mark Sink. To speak with him is to get a rare glimpse into the mind of a creative genius whose life has crosshatched the elites in the fashion and art worlds, and whose stories just might rival those of Hunter S. Thompson. In fact, this summer Mark spent time racing vintage cars around Aspen. Very Thompson-esque, indeed. 

Mark’s family further influences his innovative spirit and free mindset: his great aunt married English royalty and lives in Grimsthorpe Castle, while his great uncle invented the telegraph. 

It’s quite the lineage from which to hail, but we’d argue that Mark is holding his own rather well: he is the co-founder of the Museum of Contemporary Art Denver, a founding board member of RedLine Contemporary Art Center, Month of Photography, Big Picture Colorado and much more. His photographs have been displayed internationally, and he continues to work in Denver where he lives with his wife and young daughter. 

Here, we sat down with the prolific artist to talk about photography, his collection of cameras and some of the celebrities he’s been fortunate enough to call friends.



Stephanie Richards: You are a fine art photographer. Tell me about your medium (specifically, what kinds of cameras do you use?), your process, and about your style.


Mark Sink: I have always been a bit “reverse technology”. While everyone is racing for more megapixels, I often go back to old film cameras. I shot many years in New York with a $2 plastic toy camera called the Diana. I photographed lots of stars with it such as model, singer and songwriter Grace Jones. I used it to shoot a series of images for New York Magazine and a collection of great writers for the New Yorker. I even did a Wells Fargo ad campaign with that silly camera. I have some funny stories of big ad clients not too happy with me when I’d show up with nothing but what looked like toy plastic camera around my neck. Like, who hired this guy? Later on, I hid the camera and filled the studio with equipmentjust for show.


My calling card was the Polaroid SX70. I did a famous face series with many, many celebrities like Andy Warhol (more on him later), Cindy Crawford, Uma Thurman and my all-time hero Lauren Hutton. She still makes my heart pitter-patter. I created the Polaroid images with a light painting technique where the sitter has to hold still for 10 seconds while I paint the light in. At first, most people are annoyed that they have to sit still, but they are always curious to see the magic appear, and it led to tons of work...and parties!  I still shoot today with my Hasselblad camera that I bought in 1982. It’s a beautiful, timeless tool, and it doesn't take batteries. Today’s extremely expensive cameras have a very, very short life span; it’s planned obsolescence—a shareholders' wet dream. 


I own a lot of “forgotten” technology. I have three or four large-format view cameras waiting to be used. (These are the ones where you slowly focus on a ground glass under a black cloth). I have one my great grandfather's view cameras that I use a lot and a modern version that I use for wet plate images (a technique from 1860). I also have a 35mm Lecia camera made in the 1920s. Today’s 35mm film actually works in that camera.


In terms of style, I work a lot in long exposure—be it painting light or large format collodion wet plate. When a person has to hold still for a photograph, they quickly develop a very strong presence. They are very “there,” and that comes through in the image.


SR: What is it that your eye sees that others don’t?  How would you characterize your work?


MS: I have been a portrait photographer all my life. I love to present simple beauty; things right under your nose; things that we tend to pass by. I am a gushy romantic. Work that is more for the heart than the head. 


SR: What is your favorite camera to use, and which of your photos got published in Vogue?


MS: My favorite camera to use is the Diana (same as Andy Warhol). I love the Polaroid, and I still use them today. Also similar to Andy, I like to carry a beautiful, tiny Minox camera in my pocket. Because of the new Halston drama on Netflix, I just printed some fab images of Liza Minnelli and Victor Hugo that I took with that camera. You can see them on my Facebook wall. 


For Vogue, I did a Polaroid portrait of the night club owner and artist Eric Goode (best known today for directing and producing the documentary Tiger King). Vogue was doing a spread on him and his new club MK. I also shot the interiors of the club.


SR: Anna Wintour has some of your work. Tell me how that came to be? 


MS: I was walking down 5th Avenue one day, and there was the Condé Nast Building. So, I deliberately crashed into Vogue’s senior fashion editors Elizabeth Saltzman and Jacqulyn Spaniel. The front desk was annoyed that I did not have an appointment, but they rang up my friend Jackie, and she told them to send me right up. 


I showed her and Elizabeth the gushy, romantic images I had taken with my Diana camera in Paris, New York, Italy and San Francisco and probably some nudes as well. I spread the box prints out on a big conference table—dozens of them. Anna Wintour swooped through the room to look at them, and she complimented me.


Elizabeth asked, ‘Are these for sale?’. 


I said, ‘Yes sure…$400 each’. 


Their eyes lit up, and they said, “We'll take them all! Tell the secretary out front to pay you from petty cash. We are late!”.


They barked orders and raced off. That sure put a light step in my walk down 5th Avenue after that meeting. I was on top of the world.



SR: You’ve photographed the lives of so many people in the fashion and art world, but the most notable might be the time you spent documenting and developing a friendship with Andy Warhol (and with his good friends Jean-Michel Basquiat and Rene Ricard). Tell me about this time in your life.


MS: Oh gosh. It’s hard to believe I was there and friends with them. They have all become such important, crazy huge art icons who are just growing and growing in popularity. 


I met Andy in Ft. Collins in 1981. I was in a state bicycle race and had a bad crash during the final sprint. He was there for a show, and I tracked him down when he was alone signing posters. I helped him, and we talked, and I showed him my injuries from the bike crash. He LOVED the scrapes on my legs and photographed them right away.


I told him I was a photographer and that I LOVED Interview Magazine. He put me on the masthead the very next issue. He wrote his phone number down for me on a paper bag. Later that day at his show’s opening he signed nearly every page of a portrait book I brought to him and the on end cover he drew penises and money symbols…all the while holding up a very long line of other guests. From then on, he took my calls at the Factory (his famed New York City studio). During one of our calls he was painting with Jean-Michel, and I actually have that call recorded on tape.


I eventually became friends with Jean-Michel’s artwork photographer, who could be very mean to people but was always very kind to me. In fact, he wanted me to build him an adobe house. He once swooped my girlfriend away from me on the dance floor and made me very jealous.  I turned down so much art that they offered me as gifts. Had I only known! 


Rene Ricard was always holding court at the art gallery, Patrick Fox Gallery. At first he was very mean and evil to me—often to the point of tears. I later found that was his way of testing me. Later on, Rene was extremelykind and generous and gave me letters of introduction to many top dealers and collectors. He is one of my top heroes of the 1980s.





SR: You are from Denver and have a deep family legacy in the arts community. Your mother was a painter and your father was an architect. Your great grandfather James L. Breese was a photographer and started the Camera Club of New York, which was one of the earliest groups for fine art photography in America. Breese’s uncle, Samuel Finley Breese Morse, has been nicknamed the “father of American photography” and even invented the telegraph. 


That’s quite a legacy. In what ways has this rich heritage shaped your art? What did you learn from them?


MS: The deep dive into the Breese crew has been great fun. By far the biggest influence personally has been coming to realize the importance of Salons—gathering people you admire and the creative community together to sit and talk. It can be on the internet or in your living room or at a dinner party. Great things happen when you curate people together. I started a Denver Salon in 1992. It’s pretty inactive, but we still get together from time to time. The new, modern one I do is call the Denver Collage Club, and we are very active. In fact, we just had a big show at Alto Gallery. We will meet again this Fall.

SR: You’ve started writing three books, and the first is actually about the Breese side of your family. Tell me more.

MS: The first story that needs to be told is that of James L. Breese—the forgotten history and the rediscover of one wild, bon vivant. He promoted and spent time with some fabulous, forward women, and he shot fashion on the street. So, I am writing it from a different point of view. Many of the chapters are about the female fine art artists, revolutionaries and leaders of the equal rights movement, such as Harriot Beecher Stowe and her sisters.



SR: Where can we see your work next?

MS: The Aspen Art Museum will be the exclusive location for an Andy Warhol exhibition this winter, and I am working closely with them on this project. The AAM just confirmed that on October 14th I will be giving a talk with a series called “ART SCENE with Mark Sink.”

My work is currently being displayed at a Jean-Michel Basquiat show at the LOTTE Museum of Art in South Korea. 

SR: Anything you want to add? 

MS: Just thank you and Cherry Creek Fashion for taking interest in my nutty life. It means a lot to me, so thank you. Cherry Creek is in my family orbit. My wife, Kristin Hatgi Sink, does the fashion photography for MAX and for Bloom by Anuschka. I am very happy to let her bring home the paycheck, and I can stay home with our daughter and make art!

Mark Sink: @marksink

Photographer: @estherleeleach


Friday, September 3, 2021

DATELINE - Show and tell: Downtown NY 1980s Art, Ephemera and personal stories from the collection of Mark Sink

DateLine.. Pop Up Show and tell: Downtown NY 1980s Art, Ephemera and personal stories from the collection of Mark Sink



 Curated by Jeromie Dorrance - Opens Friday Sept 3 and closes Sat Sept 18 2021 ( Closing Party 6- 11pm)  3004 Larimer St, Denver, CO 80205 www.ddaatteelliinnee.com

 Andy Warhol Carl Apfelschnitt Chris Makos DAZE Edward Brezinski Felix Pène du Bois Gerard Malanga Jean-Michel Basquiat Keith Harring Mike Berg Nic Rule Rene Ricard Robert Hawkins Scott Covert Scott Kilgour Silvia Martins Stephen Sprouse Ouattara Watts Vittorio Scarpati Zabo Chabiland 

 Come see some rare works that are for the first time seeing the light of day since acquired by Mark in the 1980s. The 1980s never ceases to fascinate. Maybe it’s because that was the era when downtown New York really felt like a separate city, filled with struggling artists and performers who were more interested in making their art than in getting famous. It was a time when people started bands without any idea what they were doing. And it was a time when people could hold down part time jobs and pay their rent while working on artistic projects, art shows, horror movies, live music and theatrical performances, offbeat and irreverent shows and theme parties. The more ridiculous, the better, and music by under-the-radar acts that later became icons.

 Andy Warhol I have written a lot about. How we met and my time with him. How he took my calls and took me on a few dates. How i nearly killed him by accident. How he changed my life. I was kinda a depressed kid afraid of the world. He opened the door of belief in myself. Words cant really express how lucky i am to have known him and called him my friend. @warholportraits

 Carl Apfelschnitt Was a brilliant painter that i photographed work of in trade.  He died of aids in the late 1980s  he describes his hands-on, raw approach to abstract painting as the “expressionistic” work of a “primordial monster” He was best known for abstract paintings with a strong physical presence, whose thick, poured surfaces were often marked by cracks and craters #carlapfelschnitt 

 Chris Makos Chris is a close friend famous photographer sidekick and photo printer of Andy Warhol . One of the funniest and most interesting people i know. Chris burst onto the photography scene with his 1977 book, WHITE TRASH. This raw, beautiful book chronicled the downtown NYC punk scene. @christophermakos 

 DAZE 0 Chris Daze Ellis was born in 1962 in New York City. He began his prolific career painting New York City subway cars in 1976. I am close friends we talk often. He is a fabulous photographer. I have brought him to Denver a couple of times to exhibit. His career is booming internationally, including doing work with some top fashion houses. @dazeworldnyc 

 Edward Brezinski  A charismatic Lower East Side painter on the fringe of success I photographed his work in trade for many years. He was picked on by other artists in his circle..until he got his show at MoMA. #edwardbrezinski

 Felix Pène du Bois  I have several major works/paintings she gave me  .. i helped her out of some tough times. Once assaulted in New Orleans, Robert Hawkins and myself drove her paintings she abandoned back to her home in Boston. She was a fixture of 56 Bleecker Gallery in the 1980s who gained recognition for portraying allegorical scenes inspired by the city life around her. “Felix’s paintings are a source of light,” critic and poet Rene Ricard wrote in a lively essay on Pène du Bois—therein only referred to as “Felix”—for Artforum’s September 1986 issue. “This is an artist who has learned how to make pictures shimmer and they would work if they only had their paint, but they also take us to faraway places and advertise a vivid and personal world that is a vacation for the heart and an antidote for eyes poisoned by the toxic by-products of art history.” #felixpenedubois

 Gerard Malanga -  poet, photographer, filmmaker, actor, curator, and archivist. I did many projects with. He was the printer for Warhol in the 1960s He hired me for several amazing documentation projects. @gerard_malanga.official

 Jean-Michel Basquiat Jean-Michel i was friendly with and photographed his work for several years. He was very kind to me  I have a lot of stories that started with an introduction by my friend Robert Hawkins at his studio on Great Jones Street where he made a small painting for me on the spot. Or dancing with him at the dinner club Indochine where he then stole my girlfriend. I was very jealous of him. He drew on the poster for me at his last show at Vreg Baghoomian Gallery. Thats also where took the image used in many documentaries of him standing in front of his painting with the word " Man Dies " which was just weeks before his death. My last conversation with him was about his struggles with Andy Warhol's death. @poparttrio @basquiat_archive

 Keith Harring Keith was very kind to me.. he was everywhere around town and at all the clubs all the time. Very accessible and very friendly even when he rose to a celebrity  .. he drew on my bicycle light once ( since stolen) .. he drew on my swatch watches and traded art for documentation. #keithharring

 Mike Berg Longtime friend i shot a lot of his work in trade ..i have wonderful pieces i live with every day. He is once was represented by RULE in Denver and shown at The Boulder Museum of Contemporary art. He is a great painter and sculptor ..he got a great loft early .. moved to Istanbul after 911 and now is back in NYC and career doing well. “Berg is a kind of aesthetic anarchist, disrupting the natural processes of decay and organizing his interventions into exquisitely layered abstraction.” – Linda Yablonsky @whos_mikeberg

 Nic Rule I traded for documenting his work. He has done well. He is in collections worldwide. Recently reviewed by Jerry Saltz in NY Magazine Rule paints words, families of words, naming words. (In the past, he has worked with genealogies and “bloodlines.”) @nick_rule Rene 

Ricard Rene is my superhero, I think is one of the most important figures coming out of the 1980s. He discovered Jean-Michel, Julian Schnabel that was just a short order cook, of course Keith Haring and countless others. I have a lot of great memories ..some upsetting some that touch my heart. One foot in the gutter and one foot in royalty. Rene came to Denver a couple times for Robert Hawkins's show at the Lynne Ida gallery in the early 1980s .. he loved Denver and in particular El Chapultepec. Ricard's landmark essay The Radiant Child for ArtForm magazine defined the East Village gallery scene of the early 1980s. This essay is credited with launching the public career of Jean-Michel Basquiat, as well as naming Keith Haring's ubiquitous "crawling baby" character. In addition to Basquiat and Haring, the essay also highlights the work of Judy Rifka, John Ahern, Ronnie Cutrone, Izhar Patkin, Joe Zucker, and other artists showing at the numerous independent New York art exhibitions of the period. #renericard 

 Robert Hawkins One of my best friends is a brilliant artist with a wonderful macabre dark sense of humor. Robert comes to Denver and exhibits often. He has shown at Lynne Ida Gallery, MCA Denver and currently has a great permanent climbing tower in Boulder at Seidel City where a large body of his work is in the collection of Terry Seidel. He most recently showed at MoMA NYC. Robert is who introduced me to everyone in this exhibition. We lived together on and off in Denver and NYC. I documented his work in trade for much of the 1980s. Hawkins' is best known for his "ferocious" style of realism. During the 1980s, Hawkins created a presence within the early 80's art scene in lower Manhattan. His first group showing titled "Three Americans" at Club 57 was with fellow artists Edward Brezinski and Brian Goodfellow in 1981. In 1980, Hawkins participated in a group show at the Mudd Club Gallery at the Mudd Club curated by Keith Haring. Hawkins' first solo show was at the Anderson Theatre Gallery in 1983 curated by art dealer Patrick Fox, who would represent Hawkins throughout the 1980s. Fox opened the Patrick Fox Gallery in 1983, where Hawkins had another solo show. In 1985 Hawkins had a solo show at the Lynne Ida Gallery in Denver, Colorado.That year, Hawkins also had a solo show at Alexander Wood Gallery in New York.[5] Hawkins then participates in a group show with artists, Jack Barth, Vincent Gallo, Bruce Mellett and Gustavo Ojeda at the Luhring Augustine and Hodes Gallery in New York in 1985. In 1986, Hawkins had another solo show with Patrick Fox and 56 Bleecker followed by a collaborative show with the fashion designer, Stephen Sprouse at 56 Bleecker Gallery in 1987. "Dead Things by Living Artists" was Hawkins next 1987 show at Bond Gallery in New York.[wiki] @robertodellh   -  Glenn O'Brien wrote, “Robert Hawkins is not a big famous artist because he has resisted all attempts to make him that”. Cookie Mueller wrote he is “sensational”. Gary Indiana wrote of his “nauseating brilliance”. Rene Ricard wrote he was “Jean Michel’s favorite artist”. Robert says these quotes are “decades old and tired, already”.  #glennobrien #renericard #cookiemueller #garyindiana #jeanmichelbasquiat #makemefamousmovie #eastvillageart

 Scott Covert Scotty and i have been friends ever since we met in the mid 1980s. Again i provided high quality slides and transparencies for trade for work. His career is doing very well.  He stops in Denver time to time while he is criss crossing the US from LA to NYC to FL. He was a founding member of Playhouse 57 at the storied Club 57. Incorporating the everyday method of “rubbings” to transcribe epitaphs from graveyards and mausoleums, Scott Covert creates text-driven drawings and paintings that engage collective consciousness and reference a wide range of human experience. @the_dead_supreme


 Scott Kilgour Ever since the 1980s Scott has stayed intouch and even dropped by my home recently where he gifted me the piece presented in this show. Knot-work designs, embarking on a decade-long study exploring the spatial relationship of continuous line drawing in Scottish Celtic Interlace. @kilgourscott 


 Sylvia Martins is a Brazilian painter i traded with. A beautiful smart woman. She studied at the School of Visual Arts in 1978 and at the Art Students League of New York from 1979 to 1982. She has shown work in solo and group exhibits around the world. For a number of years she dated Richard Gere, before marrying billionaire Constantine Niarchos in 1997. Her paintings are mainly abstract. @sylviammartins 


 Stephen Sprouse Stephen was a fashion designer and artist credited with pioneering the 1980s mix of "uptown sophistication in clothing with a downtown punk and pop sensibility he ran with the fast pack. Warhol and Haring ..Duran Duran. I met Stephen at the 56 Bleecker gallery around 1986. I photographed his work and some fashion. He gave me one of his leather vests  in trade and the Iggy Pop painting presented in trade for a shoot large transparencies of his paintings.  He hung out with Warhol and i photographed them together with Polaroid. He was very kind to me and often invited me to dinner. @stephensprouse

 Ouattara Watts Ouattara is from Ivory Coast. He studied at l'École nationale supérieure des Beaux-Arts in Paris. In Paris, he met Jean-Michel Basquiat at an exhibition opening in January 1988. Basquiat was impressed by Watts's paintings and convinced him to move to New York City. That is where i met him with Jean Michel and photographed them together and later i photographed his painting. We have stayed friends and comment time to time on social media. His career He has shown with Gaggosian gallery and museums and foundations around the world.. he made it to the other side. @ouattarawatts 

 Vittorio Scarpati I live with this image of the dolphin visiting a sad man at the aquarium  ..it touches my heart. I traded for it photographing his show at 56 Bleecker. Vittorio was an Italian artist, political cartoonist and jewelry designer. He met art critic and actress Cookie Mueller (John Walters film star)  in Italy, in 1983. Three years later they married in New York City. Scarpati died on 14 September 1989. He was 34. Cookie died a couple months later also .. both of aids.Its a very sad story. 

 Zabo Chabiland Visual artist working across a number of mediums – Installation, photography, sound performance, video and sculpture. She graduated from the full time studies program of The International Center of Photography of New York in 1988. Zabo is a fabulous amazing forward artist. A close friend faraway making art in France. She was a music mixing VJ mixing music and projections on the spot from her laptop in the mid 1990s ..way way early. It blew my mind and i said to myself that is the end of photography as we know it. He also made X-ray prints and black and black ..black dark silver prints wet stretched on frames like canvas ... great artist and friend i miss terribly. @zabochabiland



PRICE LIST


North Wall







Robert Hawkins Ghost 1988 acrylic on canvas   2k


Robert Hawkins baby golden with coke 1989 2k




Robert Hawkins explosion acrylic on canvas 1985 3k




Robert Hawkins PISS 1988 acrylic on canvas   2k








Mike Berg  Black Lace 2k






DAZE Ink on paper 1985 2k





Carl Apfelschnitt NYC 1984 6k









Vittorio Scarpati 1985 Pen ink on paper $600







Andy Warhol portraits early 80s silver prints  10k






Chris Makos Warhol in Plane 1984 vintage silver print 5k





Scott Covert Marilyn grave rubbing and acrylic and glitter  1986  1k








Stephen Sprouse 1988  Iggy Pop  sticker on canvas  2k






East Wall


Zabo Chabiland from DUMBO 1989  1k







Scott Kilgor  Infinite  paint on board  1988   $400









Nick Rule  Secretariat  oil on canvas  1985   2k







Chris Makos Warhol in Drag 1982 vintage Silver print.  20k







Rene Ricard drawing on Clemente book box cover and book signed 1989 4k







Jean-Michel Vreg Baghomian print from gallery opening poster drawn on and signed  $150
The original is 25k 


Jean-Michel Spine trans transparency 1988   $400





Jean-Michel Yellow shoe trans 1988 $ 400












Keith Haring cards 1,2,3 1985 $250






Keith Haring Pop Shop bag 1986  $250





South Wall


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Silvia Martins  abstract 1985  2k






Edward Brezinski church interior  1983  Oil on canvas  8k





Felix Pene du Bois Blue Lobster 1984  10k










Mark Sink as Andy Warhol 82 2k



Mark Sink Micheal Jackson 82 2k





Mark Sink inside Interview Magazine sun glasses 82 2k



Loose prints in book


Mark Sink Andy Warhol in LA 1981 vintage silver print. $400


Mark Sink Jean-Michel smoking vintage silver print. $400




Mark Sink Andy Warhol light painting 1982  $400

Loose prints in box

Mark Sink Polaroids modern prints $30 ea $40 Framed

Grace Jones Interview Magazine 1981 1K














VIDEO






Robert Hawkins  Forgetfulness 1984