MELISSA LOOP is showing her large-scale landscape paintings at the Johanssen-Gallery in Berlin, Germany, summer 2017.
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MELISSA LOOP is showing her large-scale landscape paintings at the Johanssen-Gallery in Berlin, Germany, summer 2017.
UTE BERTOG is showing her abstract paintings at Gallery 71 in Edina, MN. www.utebertog.com
Opening Reception: Wed, June 14, 6:30 – 9pm
Show Dates: May 11-July 28, 2017.
Gallery hours: Saturdays 1-4pm
More information at gallery71mpls.com
SEQUENTIAL showcases 4 Minnesotan artists that are interested in the inherent possibilities of working in series. Other artists in the exhibition are Jesse Hickman, Mary Gibney and Michael Cimino.
SHANA KAPLOW is a showing ink wall drawings at Form+Content Gallery, May 25-July 1.
Saturday, May 27, 6:00 – 8:00 pm
UNSTOPPABLE FORCE Women Artists, Here and Now is an exhibition by 5 exhilarating women artists. This exhibition was conceptualized by Vesna Kittelson and co-curated by Gallery members Vesna Kittelson and Mark Ostapchuk. formandcontent.org
Photo: Install of Shana Kaplow’s work.
Opening Reception: June 3 rd , 7-10pm
Exhibition Dates: June 3 rd -25 th 2017
Rosalux Gallery presents “Vivid Relics” – a new exhibition featuring the dynamic
paintings of Shawn McNulty and folk-inspired works by Michael Sweere. Each artist
creates work that commands the attention of the viewer, and both McNulty and Sweere
are featured in the U.S. Bank Stadium art collection.
Shawn McNulty’s signature abstractions have evolved over the past 20 years into a
more organic territory with some subtle ties back to his geometric pieces with rigid
edges. He utilizes a “shoe palette knife,” which allows him to work the canvas on the
floor with his feet, along with random tools like a Swiffer and pieces of plastic. The
result of this process is refreshing and innovative forms comprised of thick acrylic and
pumice, along with his masterful grasp of color theory. McNulty is essentially an action
painter, but there’s a heavy dose of energized color fields throughout his work, which
lend itself to a “calmness over chaos” vibe. His work can be found in private and
corporate collections all over the world including that of General Mills and President Bill
With the recent installation of his mural at the new Webber Park Library in Minneapolis,
Michael Sweere shifts gears and brings something completely different to Rosalux
Gallery in June. Mr. Sweere’s affinity of American folk art is evident in his newest
installation. A detour from his familiar mosaic work, the exhibition features a wide
range of polychromed (painted) woodcarvings. His characters – inspired
by imagination, native tales and urban folklore invite viewers of all ages to experience
the wonder of “Folk-O- Rama.”
Tombstone, Shawn McNulty 40×80” (diptych) acrylic and pumice on canvas
Animal Woodcarvings, Michael Sweere – various sizes
Press Release Images:
Artery, Shawn McNulty, 40″ x 40″ acrylic and pumice on canvas
Muskie, Michael Sweere, Tin-wrapped woodcarving
Rosalux Gallery Celebrating its 15-Year Anniversary featuring work of current and former Rosalux artists.
OPEN Art-a-Whirl weekend: Fri. 5/19 5:00-10:00pm, Sat. and Sun. 12noon-4:00pm.
Show Runs through May 28th.
Regular Gallery hours: Sat & Sun, 12-4pm.
Roslaux artists Elaine Rutherford, Shannon Estlund, Betsy Alwin, and Melissa Loop received the 2017 Minnesota State Arts Board Arts Initiative Grant. Congratulations!
Elaine Rutherford – mixed media painting rutherfordelaine.wordpress.com
Shannon Estlund – painting and sculpture shannonestlund.com
Betsy Alwin – betsyalwin.com
Melissa Loop – painting melissaloop.com
Exhibition: April 1 – 30, 2017
Opening Reception: Saturday, April 8, 7-10pm
Rosalux Gallery is pleased to announce Time/Keep, an exhibition of new work by David Malcolm Scott and Rebecca Krinke featuring a large-scale sculptural work by Rebecca and a suite of paintings and drawings by David. The exhibition brings together the artists’ shared interest in time and memory, with a particular interest in what can be remembered or recorded and what can only be sensed or imagined.
David Malcolm Scott presents a new series of works exploring time and place – featuring a 30’ long watercolor scroll that literally starts with the formation of galaxies and moves forward through terrestrial epochs. David then uses this piece with its timeline format to add small scroll paintings above and below to reveal memories and dreams of one person’s life, in this case, the artist himself.
Time and place are highlighted in different ways in David’s two other series on view: in Weekly Commute, vivid slices of the sky are seen framed by dramatic building silhouettes, and in the stylized landscapes, the deep time of geological formations are juxtaposed with the more fleeting forms of forests, grasses, cities, and skies.
Rebecca Krinke presents a large installation, The Keep, which creates a domestic, psychological space of wonder and terror. The Keep continues her series of bed sculptures, although here a charred 4-poster bed hangs from the ceiling, upside down, bound by black-feathered walls – becoming a more abstract container/portal of space. Stacks of her dozens of black bound notebooks are visible but inaccessible on the burned wood floor below.
“Keep” as a noun originated in the Middle Ages, and was a place used as a refuge of last resort should the castle fall to an adversary. Rebecca’s installation evokes questions about what we keep, where we keep, and the costs of keeping: memories, secrets, notebooks, relationships, possessions, houses…This work and her larger practice is both highly personal and collective – in its explorations of private, public, and liminal space.
For more info about the artists:
1400 Van Buren Street NE, #195
Minneapolis, MN 55413
Exhibit runs through March 26th
Eleanor McGough Last Refuge
My paintings and paper cut-out installations explore our fleeting place in the vast patterns of migrations, climate change and time. I am drawn to insects for their elegant engineering, metamorphosis, crucial role in pollination, and their alien-like otherness that both captivates and repels us.
Commingling information from biology, textile patterns, and maps, my paintings combine layers of atmospheric depth with flat pattern. The result is often a blending of landscape, microscopic slide, and aerial view. Life forms inhabit terrestrial, aquatic, or atmospheric spaces, while articulating fragile and tenuous relationships within the complexities of changing habitats, insect migrations, and the aerial arena of flight.
The paper cut-out installations explore the concept of multiples in endless variation, the role of collections in natural history, and the astonishing fact that billions of insects are carried in air currents through the layers of our atmosphere – this idea serves as a visual metaphor to the broader context that all life is transitory and swept up in immense patterns of energy.
Group Exhibition features work by Rosalux Gallery’s three newest members: Betsy Alwin, John Gaunt, and Jim Hittinger.
Jim Hittinger’s paintings and drawings present a sparsely populated suburban dystopia. Andy Sturdevant, from the catalogue for Underlined Action (2015) writes:
“What do we find in Hittinger’s world? Much of it seems ominous – the sirens and flags and safety orange suggest impending doom of some unspecified nature. The International Orange he employs frequently cuts through the gray in the same way the designers of the Golden Gate Bridge intended the iconic color of that structure to retain a high level of visibility through the thick fog rolling into the bay every afternoon – a warning as much as a visual signature. But there are some elements of humor and surreal whimsy that don’t make the visit uniformly bleak.”Jim Hittinger
“My current series of works combines the pliability and strength of ceramics with the delicate structure of lace. In lace pattern, the negative space is intrinsic to its structure, carrying its pattern and a signified vulnerability. The forms I make allude to motifs of strength, stability and infrastructure. It is important to me that the lace be an actual structural element in the work. The lace conveys both strength and fragility, beauty and fallibility. This dichotomy, brought forth by surface texture and pattern, is further accentuated when put in relationship to other building materials, such as rebar and wood.
The use of lace is a very specific and personal choice. For me, it began as an experiment, trying to figure out how to convey a sense of temporality, a sense of ethereality embodied in strong form. The patterns themselves shape space in a graceful but orderly way, and when they are supporting either themselves or another object, that weight is emphasized. In these sculptures I wish to allude to the body (through the lace, a clothing material), to life (three dimensional form), and, then, to a balance between contradictions that becomes the subject of the work. Betsy Alwin
I have an empiricist approach to making. In recent years I have been developing a kind of “graphic scaffolding” inspired by natural systems, philosophy and the shifting architecture of rivers. This scaffolding or intuitive gesture has become a malleable motif for me across artistic processes – allowing me to generate new combinations of abstract structures, illusionistic spaces and diagrammatic drawing. The accumulation of this practice is beginning to yield a kind of personal topology. John Gaunt
Head to the MIA this Thursday, February 23rd from 7:30 – 8:30 for a thoughtful conversation about the complexities of parenting in the art world. Curator, scholar, and author Amber Berson will present her recent exhibition, “The Let Down Reflex.” A conversation with Shana Kaplow, MAEP panelist and Rosalux artist, will follow the presentation.
“The Let Down Reflex” attempts to recognize the complexities of parenting in the art world, and asks if a better alternative for families can exist. Calling out a slippage in today’s world, the curators summon a group of artist-parents to contribute to a springboard for re-imagining an art world where “Mom” is not a demeaning characterization, where childcare is factored in for participating artists at art spaces, and where artists aren’t forced to choose between home and work. The “let down reflex” references the involuntary reflex that causes nursing mothers to produce breast milk. The term takes on a double meaning in this exhibition, referring here to the reflexive tendency of letting down parents, and particularly mothers, within the flawed labor system of the art world.
Amber Berson is a writer, curator, and PhD student conducting doctoral research at Queen’s University on artist-run culture and feminist, utopian thinking.
Shana Kaplow is a visual artist living and working in St. Paul. She has exhibited her work nationally and internationally at museums and galleries, including Mia, the TEDA Museum of Contemporary Art (Tianjin, China), the Asheville Museum of Art (N.C.), the Plains Art Museum (N.D.), and the Soap Factory (MN). She is a professor of painting and drawing at St. Cloud State University and an MAEP panelist.
This program is brought to you by the Department of Art, St Cloud State University’s Visiting Artists and Scholars program and Mia’s Minnesota Artists Exhibition Program (MAEP).
Rosalux artist, Laura Stack, is showing her Fluere ink paintings at Circa Gallery in the Twisted Tryst: Circa + Omforme exhibit.
Exhibition Dates: February 11 – March 25, 2017.
circagallery.org Gallery hours: Tues.–Fri. 1–6 pm | Saturday 11 am–4 pm
210 N First Street Minneapolis MN 55401 | 612.332.2386
The Eccentric Fetish of Omforme furniture plays off the luscious colors and textures of Circa artists’ paintings. See more of Laura Stack’s painting at Laurastackart.com
Fluere # 8, ink painting on paper, 26″ x 20″ – Laura Stack
Shapeshifter 37, ink painting on paper, 26″ x 20″ – Laura Stack