Noir 2006

Editor: We are looking at Bram Bogart’s "Noir," from 2006, it appears to be mixed media with heavy impasto. It is completely monochrome and extremely textured. What is particularly striking is the sheer mass of material—what can you tell us about this piece? Curator: For me, the key to unlocking this piece is its materiality. Look closely at how Bogart has handled the paint—almost sculpted it. He challenges traditional painting by turning it into something almost sculptural. What does that imply about the making? Editor: So, instead of focusing on some kind of narrative, the actual labor and manipulation of the materials become the central element? Curator: Exactly. It’s about the process, the sheer physicality of applying this much paint. Think about the physical exertion involved. Also, the monochrome palette removes distractions; all the emphasis is on the material itself and how it is used. It really challenges distinctions between "high" art and, say, construction. The sheer weight of it forces you to think about not just what it represents, but also what it *is*. How the artist engaged with the medium, manipulated and mastered it. Editor: I see what you mean. It’s easy to overlook the sheer work and material investment in creating art. Is Bogart commenting on the commercialism of art here too? Curator: Potentially. The monochrome can read as a rejection of color, ornamentation and consumerism of the art. In a way it focuses back on the very fundamentals of applying the stuff – paint. Editor: That really shifts how I see this work, making me think about production and the value of the materials themselves, not just the end product. Curator: Indeed. Focusing on process and materiality like this offers valuable perspectives, disrupting conventional hierarchies within the art world. Editor: Absolutely. Thank you, it really gave me a new appreciation for what went into the production of this painting!