Mark Sink u Zagrebu

“MARK SINK, suizlagač, suradnik i prijatelj, pojavljuje se kao Gojevićeva inspiracija i gost izložbe.

Sink je američki fotograf specijaliziran za proces mokrog kolodija na staklu, što je još jedna snažna spona koja povezuje dvojicu fotografa. Danas osnivač Mjeseca fotografije i suosnivač Muzeja suvremene umjetnosti Denver (Colorado), Mark Sink pripada prvoj generaciji umjetničkih fotografa koja je sedamdesetih godina 20. stoljeća koristila instant fotografiju kao medij. Kao pomoćnik Andy Warhola od 1981. do 1987. godine, Sink pripada njujorškoj umjetničkoj sceni 1980-tih. Osim portreta Warhola, Basquiata i Keith Haringa snima portrete suvremenika koji su se okupljali u noćnim klubovima Studio 45, Palladium, Danceteria i Area. Njegovi portreti uvršteni u izložbu – Andy Warhol, Uma Thurman, Cindy Crawford, Deborah Hutton, Matt Dillon, Roy Lichenstein, Grace Jones, Dennis Hopper, Lauren Hutton, Candace Bushnell – posebno je priznaje koje Gojević odaje Sinku kao fotografu. Gojević naglašava kako je u fotografiji, osim pitanja tehnološkog procesa važan kulturni fenomen: tko, kada i gdje. Gojeviću je to posebno važno kod portreta koje je osobno snimio.”

Draženka Jalšić Ernečić | viši kustos

Mark Sink, American, b. 1958
Lives in Denver, works as, photographer, curator, and teacher.
www.gallerysink.com

Polaroids
Polaroid Famous Face Series
Painting With Light

“While living in NYC through the 1980s I stumbled onto a method of making unusual Polaroids portraits.This lead me into some wonderful worlds. The 1980’s were a wild explosive period for the fine arts. I became friends of many rising art stars because I photographed their art work for them.Their dealers were my employers. I extensively documented the scene at openings and in the studios of the artists, their dealers and clients. During this time I came upon the Polaroid SX-70., The last great invention by Mr. Land before he died. Lucas Sammaras showed me a many a way that you can make extraordinary images with this camera and film. One, I found you could cover the light meter and fool the camera’s shutter to stay open. With the camera exposing I would paint light onto the sitter to make a photograph. Then have the sitter approve and sign the piece.This was a wonderful new mission. I could now spontaneously approach a celebrity artist and ask if I could take a Polaroid . 99% of the time they would agree. Now if I approached that same person with a Nikon and a big flash they would tell me to go away. The Polaroid had a innocent appeal. With the OK, I tell the person to hold very still for eight seconds while I bath them in small bursts of light . (light painting). This was very interesting in itself, for this is a performance with me moving around the subject painting„ them. Always when its done the sitter always wants to see the magic of the Polaroid develop. In many cases they are very amused and want more and or want me to take some of their friends. They in many cases want more than one.Thus I give them one, which is a great calling card. That card opened a many a door. I feel these are a wonderful very small document of the roaring 80s NY downtown art scene. They are one of a kind objects that make these little things very special. I’m a romantic and I feel that this 1980s will be looked at in the future with interest , like the 60s POP scene or the 50s Abstract Expressionists or even Paris in the twenties.I see this work not as individuals but as a single document.”

Mark Sink