Meridith NcNeal. Inside Outside Witch Store (Bushwick, Brooklyn). 2023. Courtesy of BWAC
The history of the Salon, the juried exhibitions that shaped European art from the 17th to the 19th centuries, can be viewed through the lens of the artists who participated—or for a more intriguing narrative, those who were overlooked.
Édouard Manet's painting “Luncheon on the Grass” (1863), now a hallmark of early Impressionism, was famously rejected from the official state-sponsored exhibition that year. Instead, it found a home in the Salon des Refusés, alongside works by other notable "rejects" such as Gustave Courbet, Paul Cézanne, and James Whistler.
Fast forward over a century and a half, and history appears to be repeating itself. The Brooklyn Waterfront Artists Coalition (BWAC) in Red Hook is preparing to showcase works that didn’t cut a popular open call at the Brooklyn Museum, which received over 4,000 submissions. Embracing the spirit of alternative exhibitions like the late-19th century Salon des Indépendants—whose motto “without jury nor reward” emphasized inclusivity—entry into the Salon des Refusés 2024 requires only a rejection letter.
According to BWAC President Alicia Degener, co-curating the exhibition, artists need to submit just one piece that is no larger than four by six feet, along with a $20 fee to help cover the high electricity costs “We didn’t want people to face rejection twice,” Degener told.
She noted that submissions are still arriving well past the August 7 deadline, and the exhibition, running from September 21 to October 13, will feature works by over 200 artists—almost as many as those in the Brooklyn Museum’s upcoming show. Highlights include Meridith NcNeal’s intricate watercolor of a quirky shop in Bushwick, Risha Gorig’s 90-minute film, Juan Pinto’s collage portrait of critic Jerry Saltz made from metro cards, and Nancy Rodrigo’s painting titled “Nipple Eyes,” which is exactly what it sounds like.
“It’s going to be a very eclectic show, and curating it without a specific theme will be a challenge, but we love a good challenge,” Degener said, expressing her enthusiasm for collaborating with local groups like Park Slope Windsor Terrace Artists and Arts Gowanus. In addition to hosting 15 exhibitions per year, the artist-run organization also organizes a Maker’s Market and an end-of-summer potluck.
“We’re all in this together and not competing against one another,” Degener added. “We’re thrilled to provide this space for artists to showcase their work.”
Claire Corey. Zombie Urchins. 2023. Courtesy of BWAC
Participating artist Claire Corey, a Bed-Stuy resident, echoed Degener’s sentiment, stating that BWAC’s exhibition would complement the Brooklyn Museum’s show. Together, she said, they would highlight the incredible talent residing and working in Brooklyn. Corey plans to display “Zombie Urchins” (2023), a stoneware piece inspired by French Huguenot potter Bernard Palissy that reflects climate change’s impact on biodiversity.
A bold poster for the exhibition, designed by BWAC member Jonathan Fischer, features a bright fuchsia thumbs-down symbol against a vibrant yellow background. This striking image embraces rejection rather than shying away from it. After all, being snubbed by the art world is often seen as a rite of passage. In 1917, for instance, the Society of Independent Artists in New York famously turned down a certain “readymade” sculpture by Marcel Duchamp—perhaps you’ve heard of it.
Sayart / Amia Nguyen, amyngwyen13@gmail.com
Meridith NcNeal. Inside Outside Witch Store (Bushwick, Brooklyn). 2023. Courtesy of BWAC
The history of the Salon, the juried exhibitions that shaped European art from the 17th to the 19th centuries, can be viewed through the lens of the artists who participated—or for a more intriguing narrative, those who were overlooked.
Édouard Manet's painting “Luncheon on the Grass” (1863), now a hallmark of early Impressionism, was famously rejected from the official state-sponsored exhibition that year. Instead, it found a home in the Salon des Refusés, alongside works by other notable "rejects" such as Gustave Courbet, Paul Cézanne, and James Whistler.
Fast forward over a century and a half, and history appears to be repeating itself. The Brooklyn Waterfront Artists Coalition (BWAC) in Red Hook is preparing to showcase works that didn’t cut a popular open call at the Brooklyn Museum, which received over 4,000 submissions. Embracing the spirit of alternative exhibitions like the late-19th century Salon des Indépendants—whose motto “without jury nor reward” emphasized inclusivity—entry into the Salon des Refusés 2024 requires only a rejection letter.
According to BWAC President Alicia Degener, co-curating the exhibition, artists need to submit just one piece that is no larger than four by six feet, along with a $20 fee to help cover the high electricity costs “We didn’t want people to face rejection twice,” Degener told.
She noted that submissions are still arriving well past the August 7 deadline, and the exhibition, running from September 21 to October 13, will feature works by over 200 artists—almost as many as those in the Brooklyn Museum’s upcoming show. Highlights include Meridith NcNeal’s intricate watercolor of a quirky shop in Bushwick, Risha Gorig’s 90-minute film, Juan Pinto’s collage portrait of critic Jerry Saltz made from metro cards, and Nancy Rodrigo’s painting titled “Nipple Eyes,” which is exactly what it sounds like.
“It’s going to be a very eclectic show, and curating it without a specific theme will be a challenge, but we love a good challenge,” Degener said, expressing her enthusiasm for collaborating with local groups like Park Slope Windsor Terrace Artists and Arts Gowanus. In addition to hosting 15 exhibitions per year, the artist-run organization also organizes a Maker’s Market and an end-of-summer potluck.
“We’re all in this together and not competing against one another,” Degener added. “We’re thrilled to provide this space for artists to showcase their work.”
Claire Corey. Zombie Urchins. 2023. Courtesy of BWAC
Participating artist Claire Corey, a Bed-Stuy resident, echoed Degener’s sentiment, stating that BWAC’s exhibition would complement the Brooklyn Museum’s show. Together, she said, they would highlight the incredible talent residing and working in Brooklyn. Corey plans to display “Zombie Urchins” (2023), a stoneware piece inspired by French Huguenot potter Bernard Palissy that reflects climate change’s impact on biodiversity.
A bold poster for the exhibition, designed by BWAC member Jonathan Fischer, features a bright fuchsia thumbs-down symbol against a vibrant yellow background. This striking image embraces rejection rather than shying away from it. After all, being snubbed by the art world is often seen as a rite of passage. In 1917, for instance, the Society of Independent Artists in New York famously turned down a certain “readymade” sculpture by Marcel Duchamp—perhaps you’ve heard of it.
