Friday, October 1, 2021





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



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

Monday, September 27, 2021


 I am going to list out my journey and what works for me. I have made a living from photography since 1978. Below are all listings that I have worked with. I am sure there are millions more but these are what I found to be the best for my adventures in making and selling fine art photography.


Millions of resources are out there. below is what works for me. If you have something that worked for you let me know. 

KEYWORDS … Clarity of Goals and Continuity in your work.

Style/brand/vision.. a thread that runs through everything... A voice.

A favorite quote that i love and adopt .. Don't look for Work but Make Work… don't look for the job.. create the job.


Mark Sink Linktree  is a one stop shop. And its free.

FESTIVAL OF LIGHT  Many great photo festivals



FotoFest  Meeting Place



Finding your communities.












GUGGENHEIM   (Guggenheim fellowships) ( Pollock-Krasner Foundation )  (Getty Fellowships)








On Photography Susan Sontag

Why People Photograph Robert Adams


Mary Virginia Swanson

How to Succeed in Commercial Photography:  Insights from a Leading Consultant Selina Maitreya 





Practice putting a book together. The software is really easy. Just the process of editing and placing images is a good workout to focus your concept and narrative.   


Dikeou Collection and their art mailer.

ZING MAGAZINE .. a curatorial crossing.

Denver Arts and Venues

Projections and Jumbo Trons to show your projects

Art Donations .. how many have you done this year. ,,I do up to 15-20 a year.

In-Kind for Non-profits... They have opened doors to many jobs for me.



Starting salons… picking people .. The Denver Salon  The Denver Collage Club 

Getting together to inspire and show and tell. Talk about the arts.

This power in numbers which makes visibility of your work much higher and easier to obtain venues to show.

I have recently started a Collage Salon.


Currently The Big Picture.. trading files with people from around the world.

Wheat Pasting them around town and around the world.

Internet Salons … First was AOL Photography Forum  .. the Fine Art Photography board FAB.

was did the first internet art show .. BOB .. then Off The Highway at Rule Gallery.

Wall St Journal at the first internet art show .. Denver Post .. Rocky Mt News.


Ok started friendster to myspace to Facebook..flicker tumblr ..model Mayheim .. … what works?   Blog spot .. and learn sharing cloud docs.

A large amount of traffic and thus inquiries and work have come from keeping up with these free agents. There is software that will post your ideas and work on all your boards at once so time is not an issue.

Some internet tales …Ever heard of the The Long tale ? ..its the power of notch and special interest.

Stepping up to  The Rise of the Creative Class  ( see the book .. Hickenloopers platform to becoming mayor. Of where art is in our society to day.

Target marketing efforts…   Find the community the Long Tail of your type of work and direction. Great information you can apply to yourself is out in the open. Research others work that is like yours and check their CVs to find where they are showing and selling

Galleries …never walk cold into a gallery. 


New ideas in self-promotion pieces.

Events that art writers pick up.


Using alternative spaces for an event.

Wheatpaste  Xerox print outs.. xerox quality is astonishingly high

Of Zines  .. do you know what is Zine is?

Large printouts newspaper size ..


If your making a self-promotion piece WHY NOT make it art.

Less is more.


Other resources i have used  (BEST PHOTO GUIDE PUBLISHED)

The tips and tricks of making a living as a fine art photographer.

Fine Art Photography in the commercial marketplace.

Using art as an opportunity to open doors in today's photography marketplace.

Understanding the business of art photography.

The many free resources available to artistic photographers and the many avenues to create visibility and cash flow.

Separating the work you love from the work that pays the bills

Visibility as a fine art photographer

Identifying appropriate exhibition venues for showing completed bodies of work.

Co-Op .. or APAD

How to balance fine art photography with commercial photography.

How to stay creative, recognize the strengths in your work, and build upon those strengths

Using art as an opportunity to open doors in today's photography marketplace.

Shots Magazine

Blue Eyes Magazine

Zing Magazine  



Festival of Light

Cool Hunting

Media Bistro




PH Magazine

World Wide Pinhole Day

FB Groups

Flak Photo Network




E-ART by Bruno Rossi

The Salon Romantique

Kopeikin Gallery12

Street shots Photography / Photographie de rue


A New History of Photography

Women and their Big Cameras

Wet Plate Collodion Photographer

Alternative photographic processes

the blackbird art circle2

LAP - Lovers of Analog Photography


Appropriate Punk Artist Group


The Disfarmer Project

PLOVDIV photographic community-Bulgaria

Bruce Conner

Antiquarian Avant-Garde Art & Processes

Art-Republic / Studio & Gallery20+

Carte de Visite and Cabinet Card Photography

Film Shooters+

Indie Film Community

Joseph Petzval

The Dallas Cultural Landscape

ThirdEye Photography Society

Vintage Photo Postcards

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

 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 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 dark silver prints wet stretched on frames like canvas ... great artist and friend i miss terribly. @zabochabiland


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


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


Robert Hawkins  Forgetfulness 1984