The Bogart Salon was a trans-disciplinary art space founded in 2011 by Peter Hopkins. Located at 56 Bogart Street in Bushwick in Brooklyn, New York, the Salon presented group and solo art exhibitions, live interactive art events, and symposia and panel discussions for the community. The Bogart Salon closed in October 2012 and regenerated into ArtHelix later that year.
The People’s Art Collective: NO SLEEP ‘TIL BROOKLYN
Sept 8, 2011
“The Collective” is a group of past or present art world members who are organized around the simple notion that the information flow within that world has always moved in one direction; from artists, curators, and writers towards (or at) collectors.
The P.A.C. members are all from the socio-economic group that largely represents the latter, and have, over the past 10 years, in complete anonymity begun to research and discuss methods to alter this flow.
For over three years the whispers of this group have circulated in parts of the art world, now finally we have found a way to get them to present their thoughts and “voices” in a public forum.
The exhibition is composed of telephone interviews with 6 of the members, 2 sample manifestos (required by the P.A.C. to invite new participants), and a large construction of the New York “art world” that runs from Brooklyn’s down-at-the-mouth “art scene” to the greener world of “Hedge Fund City”.
Comprised of legos, children’s figurines, toy trains, and other detritus that helps P.A.C. to describe the unspoken relation of ideals to wealth, principles to power, and “Democratic Wishes” to “Republican Desires”, the model suggests that interconnectivity of the “equation”, and how many maintain a childlike ignorance of the actual means that propel the “game”, and like children, refuse to accept the real terms that keeps it running.
In order to maintain complete privacy ‘The Collective’ has hired surrogates to build the work, and will not be present to discuss it during the exhibition.
Le Dejeuner Sans L’Herbe
Oct 21 – Nov 11, 2011
Dec 9, 2011
Jan 19, 2012
Black and White, and Re(a)d All Over
Curated with Bonnie Rychlak
Feb 3, 2012
Adrift (A Drift): Rootless, Fragile, Poetic
Contemporary Impressions of The Drift in a Working Salon
Mar 10 – Apr 2, 2012
The Walk Exchange
CAPITAL and its Discontents:
Art, Money, Real Estate, and the Changing Face of Bushwick
Apr 12, 2012
Apr 13 – 15, 2012
MODESTY: A Policy
Apr 27, 2012
The Bogart Salon is pleased to present MODESTY: A Policy an exhibition of three painters for whom modesty of spirit is counter balanced with philosophical assurance. The small scale and low key subject matter of their work gives the outward appearance of a quiet resistance towards the normative art world and its premium on “attention” seeking. Although modest in their formal artistic appearance their art is actually an act of great confidence and certainty of intention. Painstaking and methodical working procedure, small scale, and quotidian subject matter are nowadays not the accepted formula for artistic notoriety, but for these three painters, there is no other choice, for them life and art merge into a seamless routine that illuminates corners of the world hidden to the rest of us, but through their agency is now perceptible – communicated to us as both visible and “beautiful”. Elizabeth Gourlay, Royce Weatherly, and Elizabeth Saveri represent what is often overlooked in this new, larger, “corporatized” art world. Eschewing the sound and the fury that signifies nothing all three have carved out for themselves unique and profoundly important artistic practices that we as a culture must recognize and acknowledge. If this culture is to mean anything it must ultimately accommodate these artists, for while they do not seek our approval, they demand our attention.
Isha: A Tell-All Tale
Live Screening and Filming for Bushwick Open Studios 2012
June 1 – 3, 2012
Bound for Eternity
Curated with Aimee Chan Lindquist
June 15 – July 23, 2012
The Bogart Salon is pleased to announce the first solo exhibition in New York for the artist Shingo Francis. His work is a strange and beautiful melding of painting practices that blends together elements both of Eastern and Western art traditions into one harmonious structure. In his paintings we see the combination of the reductive aesthetics of Japanese scroll painting with the early Modernist struggle to engage the concept of the “sublime” as a philosophical goal. Francis is alert to these two divergent, but not incommensurate goals, trying to find a new space that can accommodate both the simplicity of a Shoji screen painting with the reductive visual power of early Malevitch. Mirroring his own dual heritages as the child of American and Japanese parents, Francis seeks a “third way” between these two cultures, and the title of the exhibition helps inform us of his journey to find this place between simplicity and power, boldness and quietude, visual beauty and a calm, but purposeful drive to reengage the (lost?) ideals of the early twentieth century Modernists belief in the power of art to open a window to another world.
The centerpiece of this exhibition is the nearly 60 foot long painting on paper entitled, Bound for Eternity (magentablue) 2009. This piece, which is part of a body of work begun by Francis in 2007 will completely wrap the gallery, and allow visitors to be enveloped inside the object itself. This painting epitomizes the dualities of East/West. Here we see the eastern concept of unity whereby individual mark making is subordinate to the overall harmony of the design conjoined with a western desire to express individuality.
These polarities are kept in balance by the artist’s keen awareness to his own oppositional but perfectly coexisting tendencies. Though 43, Shingo Francis actually exists as a throw back to an older generation of artists who struggled to develop an autonomous practice but also saw themselves situated inside the long flow of art history. Francis is comfortable with the knowledge that while we struggle daily with increments of knowledge we are nonetheless wrapped inside and bound for eternity.
Curated by Babette Rittenberg
July 26 – Aug 21, 2012
The Bogart Salon is pleased to announce the first annual Bogart Invitational summer exhibition, a yearly season ending event that allows for the 56 Bogart building to highlight itself as a creative hub of art making in Bushwick. Curated by Babette Rittenberg, and including over 21 artists, the work has been selected from numerous working studios in this landmark building that sits at the heart of the emerging Bushwick art scene.
Intimate Planet is the curatorial theme around which Rittenberg has organized her show, and refers to her concept of a “post-ironic” world view that eschews the omnipresent digital “distancing” universe in favor of a more analog belief in actual connectivity in a physical space. The works selected centers on deeply personal ideas of the “self” as an artistic ideal. This exhibition presents a fully engaged model of the artist as a human engaged with other humans in a problematic, but unembarrassed “dance of unity.” This is a theme that might make the fully initiated art-speaker cringe with the profound lack of appropriate detachment. This art event celebrates the actual joys of art making and the connections those acts are intended to engender in us. As the artist herself puts it …ultimately this show IS meant to be a feel good show, but I don’t want it to border on the blissfully ignorant. I want it to address our life in the present. … I believe it is through building relationships and helping others that real intimacy is formed and this is what I want the viewer to be able to connect to and feel motivated by when they leave the show.
Sept 7 – 9, 2012
Sept 21 – Oct 29, 2012
Vacationland is an exhibition that is centered on three artists who grew up, or have spent a great deal of their formative artistic years in Maine.
The title refers to the state’s idea of itself as a place for retreat, both literally and, (in this case) spiritually. The understanding here is that this title refers to some imaginary place somewhere just outside the boundaries of the art world and its “gravitational pull”, somehow mysteriously free from the hyper-consciousness and market forces exerted by the “black hole” of New York City. This “place”, this Vacationland is, of course fictional, the artists here are all formally schooled and highly regarded inside this system, but in some fashion all are currently engaged in a twenty to thirty year struggle to carve out some freedoms for themselves and their new works which can each be traced back individually to some original impulse, some geist that comes from Maine: the ambient northern light of a late September, the remoteness and harsh winters and how those conditions might form a spirit of quiet resolve, these ideas all contribute to the “how” of that place, and what it means emotionally, and finally for all the artists here… visually.