Nuts & Bits Opening Reception Photos

NUTS & BITS – Shawn McNulty and Daniel Buettner
Photos by Renée Duncan

“New work from @[45408918064:274:Shawn McNulty Art] and Daniel Buettner at Rosalux Gallery in November 2015.
Photos by Renée Duncan.”

From Nuts & Bits, posted by Rosalux Gallery on 11/10/2015 (46 items)

Generated by Facebook Photo Fetcher 2


TARA COSTELLO and PRISCILLA BRIGGS in CIRCA’s 25th anniversary juried exhibition “THIS FROM THERE”

Congratulations Rosalux artists Tara Costello and Priscilla Briggs.

TARA COSTELLO’S paintings and PRISCILLA BRIGGS’ photographs are in CIRCA’s 25th anniversary juried exhibition “THIS FROM THERE” curated by Christopher Atkins. This exhibit features 25 Minnesota artists.

Reception: Saturday, November 7, 6-9 pm
Show Dates: November 7–December 5
More info at

painting by Tara Costello

painting by Tara Costello


NUTS & BITS: Shawn McNulty and Daniel Buettner in November

Nuts and Bits

New paintings by Shawn McNulty and Daniel Buettner

Exhibit runs: November 7th–29th, 2015
Opening Reception: Saturday, November 7th, 7:00-10:00 PM

Painters Shawn McNulty and Daniel Buettner build up their work with many parts and layers similar to how a machine or engine is put together with various nuts and bolts, or in this case, nuts and bits. McNulty applies thick acrylic and texture mediums with unconventional tools and motions, which results in engaging compositions with unique forms that beg to be deciphered. Buettner presents random traditional imagery in an abstract environment, which engages the viewer to interpret the scenario. Both artists are longtime Rosalux members and incorporate a vibrant color palette.

Shawn McNulty, a founding member of Rosalux Gallery since 2002, works his square canvas on the floor using acrylic and pumice with large industrial palette knives.  He also uses his feet with a “shoe palette knife” in an attempt to discover new forms by modifying his control. His work explores the idea of recognizable shapes and structures living within irrational thoughts and emotions.  The process starts out very spontaneously and becomes more detailed as the composition starts to show itself.  The color fields interchange with each other, attempting to find common ground resulting in multifaceted and interesting edges. The process continues until a solution is found, always applying and mixing paint directly on the canvas, scraping away layers to reveal the ghostly characters of the previous.

Artist Daniel Buettner’s paintings show objects placed in contexts different from which they were originally intended to be in. The objects, often simple and otherwise not worthy of much thought, are painted in the finest of detail against photos of unlikely environments collaged into the backgrounds. The “new” setting invites the viewer to construct meaning the same way a child might when presented with a situation that, from the adult perspective is either obvious, or rhetorical, or both.

SMcNulty_02_101215, 10/13/15, 12:47 PM,  8C, 10666x10862 (0+1669), 133%, Custom,  1/60 s, R46.7, G28.3, B43.2

Kingdom by Shawn McNulty
Acrylic and Pumice on Canvas


Toadstool by Shawn McNulty
Acrylic and Pumice on Canvas





After The Golden Hour by Daniel Buettner
Acrylic and Collage on Matboard



The Cops Told Me to Freeze by Daniel Buettner
Acrylic and Collage on Matboard


LAURA STACK and DAVID MALCOLM SCOTT in “SAMEE: Sustainable Acts” exhibit at the U of M Institute on the Environment

LAURA STACK and DAVID MALCOLM SCOTT in “SAMEE: Sustainable Acts” exhibition at the University of Minnesota’s Institute on the Environment

OPENING RECEPTION: October 22, 4:00pm – 7:30pm
Exhibit Dates: October 22, 2015 – January 15, 2016
Location: Institute on the Environment, University of Minnesota, 1954 Buford Ave, Saint Paul, Minnesota 55108
More info at

The Institute on the Environment presents SUSTAINABLE ACTS, an exhibition devoted to the intersection of the arts and sciences. Awarded an Institute on the Environment mini-grant, and supported by additional contributions, this project continues to explore the conversation between artist and scientist which began 3yrs ago with the project CONVERSATION-E a dialogue in service for sustainability.

The SAMEE exhibition will feature works consisting of drawings, paintings, photographs, installations, sculpture, performances, and multi-media works, films and videos.

Laura Stack’s art website –
David Malcolm Scott’s art website –

Shapeshifter 43 by Laura Stack - ink, gouache on paper - 20" x 24" - 2015

Shapeshifter 43 by Laura Stack – ink, gouache on paper – 20″ x 24″ – 2015


Shana Kaplow in the Waiting Room’s group exhibition NO VACANCY

No Vacancy
October 16 – December 13, 2015
Opening Reception: Friday, October 16, from 7–10 pm

Featuring Melissa Cooke, Shana Kaplow, Cherith Lundin, Laura Migliorino, Joe Smith, Sara Suppan, and Carrie Thompson.
A glowing red neon hotel sign signifies that all empty rooms are full. 

No Vacancy, on view at Waiting Room October 16 through December 13th, replies to this presupposition with the work of seven artists, who, in their discrete practices, model emotional airlocks for working through contemplation of self and surroundings. 

The exhibition fixates on the residual perceptual affect and psychological tensions that linger in domestic, liminal, and transient places, spaces, and non-spaces. The artists featured in this exhibition point to architecture, furnishings, and self-imagery as a means of representing and simulating the vestiges of internal sensibilities, memory, and feeling.

Many artists here take empty and temporary spaces as their subjects: pregnant thresholds momentarily cool with the sense of delay or a pause in activity. A sense of discomfort, maybe even transformation, settles in these interstitial chambers. Other artists point to objects as vehicles for self or avail their own image as a metric for tenor. In such containers, the lone self is fully on view: inadequate, restless, waiting.No Vacancy brings together artists from various career stages and mediums around the notion of letting in, or out, the metaphorical white noise from that shared sense of solitude.

Curated by Jehra Patrick, the exhibition marks the one-year anniversary of Waiting Room’s exhibition program. In the past 12 months, Waiting Room has hosted five exhibitions, multiple public programs, and shown work from 24 local and national artists. Following this exhibition, Waiting Room will welcome a 2016 exhibition program curated by invitation.

Stain : ink on paper : 44 x 30" by Shana Kalpw

Stain : ink on paper : 44 x 30″ by Shana Kalpow – from her recent Rosalux exhibit



SHAWN MCNULTY and MICHAEL SWEERE create artwork for the new Vikings Stadium

SHAWN MCNULTY and MICHAEL SWEERE two of the 34 artists chosen to create artwork for the new Vikings Stadium. Thanks to Tracie Speca from Sports and the Arts for focusing on Minnesota artists for this project!
Read more about it at


& Terrence Payne Opens October 10th at Rosalux Gallery">Pinch,Featuring the Work Of Amelia Biewald & Terrence Payne Opens October 10th at Rosalux Gallery

Pinch, features new work from artists Amelia Biewald and Terrence Payne. Pinch will explore how cultural and personal  identities are romanticized, manipulated, and influenced through Amelia’s antiquated reflections on assumed cultural roots and Terrence’s discerning and vibrant drawings of individual actions.

Amelia Biewald’s intimate and haunting watercolor paintings are derived from photographs taken on her recent Grand Tour of Northern Italy.  Harking back to a desire to find a connection with a legacy of classical antiquity once shared by many 18th century Europeans, Biewald examines the tradition of the search for an assumed cultural heritage in order to break free of cultural hegemony at home.  The Wedgewood inspired impressions Biewald has created for Pinch revisit the obsessive nature of seizing on past legacies and relate to a modern desire to appropriate the exotic into the increasingly banal of a shrinking world.

Terrence Payne’s archetypical portraits illustrate behavior at the fringes of acceptability in everyday life that are bent on directing the actions and ideals of the communities they inhabit.  Payne examines the subtle and overt ways in which individuals can try to influence those around them for self preservation or personal gain which reveal their own fears and needs in the process.  Payne uses the wit, words, and iconography familiar in his work to challenge the viewer into redefining their own place in the world and to ponder how they might influence the perceptions of those around them.



Grand Tour, Sirmionie (detail)
2015, watercolor, ink and resin on rag paper on panel, 10”x10”
Amelia Biewald


If Smarts Were Bullets Then No One Would Ever Get Shot
2015, oil pastel on paper, 48” x 57”
Terrence Payne


verona 1

Grand Tour, Verona (detail)
2015, watercolor, ink and resin on rag paper on panel, 8”x10”
Amelia Biewald

hi five

I’m Saving Up All My High Fives For Something Cooler Than This
2015, oil pastel on paper, 48” x 57”
Terrence Payne


Jack Dale received Best of Show for Hopkins Center for the Arts members’ juried art exhibit

Congratulations to Jack Dale who received Best of Show for the 2015 members’ juried art exhibition at Hopkins Center for the Arts.

Exhibitions runs through Oct. 16th.
See more of Jack’s artwork at

 Jack Dale's "Vinegar Portrait #12, 2015, 16" x 12", acrylic on paper.

Jack Dale’s “Vinegar Portrait #12, 2015, 16″ x 12″, acrylic on paper.


Rosalux Artists Areca Roe and Shana Kaplow in Soap Factory’s Biennial “superusted”

Rosalux Artists, Areca Roe and Shana Kaplow are showing their work in the Soap Factory’s Biennial “superusted”

Opening reception: September 12th, 7-11pm
Exhibition Runs: Sep 12 – Nov 8, 2015
Gallery hours: Wed/Thurs/Fri 1-7pm and Sun 12-5pm

The Soap Factory’s biennial is purposely set outside of the usual biennial survey, and is deliberately presented as the selection and choice of one or of a small group of curators. For 2015, superusted has been brought together by St Paul curator Cheryl Wilgren Clyne, presenting artists within the context of what she sees as important for contemporary art in the Midwest.

“The position from which each artist’s work comes is fully accessible through a lively and engaging aesthetic and an often highly skilled technique. From one curatorial perspective, each artist shows a dedication to art as a deliberate action in response to what is occurring in our complex world at this single moment in time. What is apparent from the work of each of the artists is a genuine love of, and commitment to, creating, and a devotion to staying true to themselves. There may be a series of conceptual threads that run throughout the works: perhaps each informs the other? Rather than overstate what that might be, the intent is to allow the viewer to find their own themes.”
-Cheryl Wilgren Clyne

Participating Artists: Alexa Horochowski , Andrea Carlson, Areca Roe, Carlos DeGroot, Clarence White, Dyani White Hawk Polk, Jennifer Rogers, Jessica Christy, John Fleischer, Laura Primozic, Lindsay Smith, Mandy Martinson, Margaret Pezalla-Granlund, Phil Olmstead, Pritika Chowdry, Shana Kaplow, Sonja Peterson


Shana Kaplow and Rebecca Krinke Review by Camille Erickson

Home and the Unseen World by Camille Erickson


I step into Rosalux Gallery and wish I could take a seat in the world of Shana Kaplow’s ink on paper painting, Traveler. It’s an elegant representation of the basic plastic lawn chair found on so many porches and backyard patios, yet her otherwise realistic rendering of this almost-disposable piece of furniture abruptly dissolves into rows of billowing smoke. In the top register, translucent ink swashes bleed into the pores of the paper, as if the plastic material were melted and then evaporated into a blank expanse. With no back for support and the chair’s arms dismembered, what appears at first glance to be a near photographic replica of a lawn chair morphs into something more uncanny.

In Rosalux Gallery’s August exhibition, Low Lying Area, local artists Shana Kaplow and Rebecca Krinke reimagine such simple pieces of furniture through painting, sculpture, and installation to unearth the connections between the personal and collective embedded in the familiar physical world. In Kaplow’s series of nine ink-on-paper paintings, she selects a plastic lawn chair, a mushroom-shaped stool, a basic black table, and a cotton pillow for her subjects. These common objects become far less so when translated to ink this way, granted a preternatural nobility by virtue of a rare attention and care given to the detailed execution. Kaplow’s rigorous line work and expert ink washes elevate each object, imbue it with an aura of importance exceeding its industrial, mass-produced origins.

Many of Kaplow’s artworks feature diptychs with one image floating on top of another that make for a landscape filled with both cohesion and disillusion. While many image pairings seem to mirror one another, other times they illuminate a stark contrast—between the modern and traditional, expensive and cheap, substantive and ephemeral. For instance, in Expansion of Wealth, a sleek IKEA chair lies lopsided on top of a worn Chinese worker’s stool. Reminiscent of similar re-makings of stools at Kaplow’s recent exhibition at the Minneapolis Institute of Art, this stool likewise carries a map of splintered cracks, a testament to years of use. In contrast, the unblemished manufactured materials of the chair above that worn stool references those for sale in the aisles of IKEA. Chairs, some of the most universal objects in the world, seen in this light bear markers of class, status, and culture.  The drastic rupture between the overlaid paintings allows for a deeper investigation of the narratives they each carry; in a real sense, the worn stool of a worker supports the production of this attractive and profitable First-World chair.  Read the full article at


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