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”
If Smarts Were Bullets Then No One Would Ever Get Shot
2015, oil pastel on paper, 48” x 57”
Grand Tour, Verona (detail)
2015, watercolor, ink and resin on rag paper on panel, 8”x10”
I’m Saving Up All My High Fives For Something Cooler Than This
2015, oil pastel on paper, 48” x 57”
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 www.jackdalefineart.com
Jack Dale’s “Vinegar Portrait #12, 2015, 16″ x 12″, acrylic on paper.
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
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 http://www.mnartists.org/article/home-and-unseen-world
Ute Bertog will present her paintings at TuckUnder Projects in an exhibit entitled Et al.
Opening Thursday, September 3, 6-9 pm
Shows Run September 3 – October 4, 2015
Gallery Hours Wed-Sun, & By Appointment
5120 York Avenue South
Minneapolis, MN USA 55410
Image: Ute Bertog – White Expanded Limitless – Gouache on paper – 6×9 Inches
Rosalux artist Michael Sweere recently installed three new mosaics at Minneapolis Children’s Hospital. Located in the newly opened Horst Rechelbacher Center, the artwork series features a Ladybug, Tree Frog and Hummingbird. Each mosaic is constructed from broken dishware, ceramic tile and stained glass.
To see more of his artwork installations visit: michaelsweeremosaic.com
Mosaic by Michael Sweere
Rosalux artist, Ute Bertog is showing paintings as part of the Waiting Room’s summer group exhibition entitled Chaos Management.
Ute Bertog’s art website – http://utebertog.com/home.html
Exhibit runs August 7 – September 26, 2015
Curated by Jehra Patrick, the exhibition centralizes on the notion that art – and artistic pursuits – are born out of inherent risk: objects, proposals, performances, and ideas out into the word without guarantee of reception. Success is unpredictable. Outcomes are hard to calculate.
Participating artists: Kieran Riley Abbott, Kimberly Benson, Ute Bertog, Emma C. Cook, Tucker Hollingsworth, Michael Johnson, Andrea Joki (OH), Todd Kelly (NY), Kelsey Olson, Jeremy Szopinski.
More info on the exhibit at http://www.waitingroomart.org/Chaos-Management
Gallery Hours: Thurs. 4–8pm and Fri., Sat., and Sun. from 12–4 pm and by appointment.
Waiting Room is located in the historic Loring Corners building near Loring Park in Minneapolis.
1629 Hennepin Avenue
Minneapolis, MN 55403
Ute Bertog – It was a dialogue / Luu, 2013, Ink on paper,
11 1/2 x 8 1/2″
Ute Bertog- Mirrored, 2015,
Glazed stoneware, acrylic wall paint,
10 1/5 x 8 1/5″
“Rebecca Krinke continues her fascinating, Angela Carter-esque excursions into the realms of fairy tales and surrealism with the next iteration of her bed series. If you saw her black-feathered sleeper previously at Rosalux, or the four-poster one she suspended in the Mill Ruins Courtyard during Northern Spark, then you know how enticing yet terrifying her work can be. This fourth version expands on the psychological qualities of place and encounter with a larger work that creates a liminal space between public and private, sleep and awakening. The exhibition also includes Shana Kaplow’s ink-on-paper paintings, which aim to dissolve traditional notions of materiality. There will be an opening reception Saturday, August 8, from 7 to 10 p.m.”
Thanks to Mike McGraw of “Local Artist Interviews” for reaching out to Rosalux for conversations with Shana and Rebecca. Mike’s blog is a great resource for Minnesota artists, curators, gallery goers and others to learn more about artists’ work and process. There are interviews dating from 2001 and include fellow Rosaluxers Terrance Payne, Shawn McNulty, Amelia Biewald, Dan Buettner, and Jack Dale. See
Shana Kaplow – Painter and Video Artist
Particulates, 2015, ink on paper in 300 parts, 16’ x 20’
For the full interview with Shana, see
Rebecca Krinke – Scuplture-Installation
Dream Window (bed sculpture), at Mill City Museum Courtyard, Northern Spark commission,June 13, 2015 Rebecca Krinke
For the full interview with Rebecca, see:
Thanks l’etoile for the great preview of the upcoming August show.
“This Sunday, artists Shana Kaplow and Rebecca Krinke will join forces to explore the psychology of domestic objects at Rosalux Gallery. Kaplow, who just showed her work at the MIA, will be presenting a new collection of ink on paper paintings that examine the meaning and impact of everyday objects. Krinke, fresh off a Northern Sparks commission, will present a new bed sculpture that might very well give you nightmares (pictured in progress, above). This exhibition promises to be moody and complex, and odds are that after experiencing these works, you’ll never view your home quite the same.” – Beth Hammarlund