Rosalux “Open Door 13” Group Show, Reception Dec. 9th

ROSALUX GALLERY is proud to announce it’s Thirteenth Annual OPEN DOOR Exhibit, opening on December 2nd, 2017.

Reception: December 9th, 7 – 10 pm
Exhibition Dates: December 2nd – 30th, 2017

OPEN DOOR is the one time of year when Rosalux opens its doors to artists outside of the collective in the form of an open call to bring inside what is happening outside of the gallery doors and give them an opportunity to share their work with our audience.

PARTICIPATING ARTISTS: Beth Barron, Natalia Berglund, Bennett Bossert, Jenny Brown, Mat Brutger, Jocelyn Burke, Yeonhee Cheong, Jessica Christy, Marina Dunbar, Torey Erin, Shawna Gilmore, Megan Herwig, Jeremy Jones, Betni Kalk, Julie Liger-Belair, Julie Nagle, Serena Perrone, Evie Richner, Amy Schissel, Maureen Shields, and Lyz Wendland.

JUROR: DANIELLE KRYSA, AKA The Jealous Curator  Krysa has a BFA in Visual Arts, and a post-grad in graphic design. She is the writer/curator behind the contemporary art site, The Jealous Curator (est.2009). Danielle has curated shows from Washington DC to Los Angeles, San Francisco to Toronto. In 2014 she published two books, titled “Creative Block” and “Collage”. Her third book, “Your Inner Critic Is A Big Jerk” was released in October 2016, and she is currently working a new book due out Fall 2018. Danielle has also had the great pleasure of speaking at TEDx, PIXAR, Creative Mornings, CreativeLive, and was interviewed for several video segments on


“A gorgeous grouping of art, hung together under one, simple, unifying theme – I love this stuff! I really do, and here’s why. The pieces in this show are the work of 21 artists from all over North America, each with their own unique use of materials and personal point of view. Every piece – from drawings to paintings to sculpture – tells its own story but together, in this particular grouping, the narrative gets even more interesting. A metal dog makes friends with a bandaid mandala, while a text covered mirror in the corner speaks quietly to an unconventional
scientific-esque timeline. Weird and wonderful, unique while strangely harmonious.”

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Vivid Relics: Shawn McNulty and Michael Sweere


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.

Artery McNulty

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


Musky Sweere

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.”

Banner Images:

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



LAURA STACK and VALERIE JENKINS: Painting and Drawing at Rosalux Gallery

LAURA STACK’S paintings and VAL JENKINS’ drawings at Rosalux Gallery until Jan. 31st.
Gallery hours: Saturdays and Sundays 12noon-4:00pm.

Location:  1400 Van Buren Street NE #195, Minneapolis, MN 55413
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Ink drawing by Valerie Jenkins. Hyper-color gouache painting by Laura Stack.

LAURA STACK and VALERIE JENKINS debut new DRAWINGS and PAINTINGS in their third exhibition together at Rosalux Gallery. Both artists delve into abstraction as a means of understanding the mysteries of life and the dynamics of culture.

LAURA STACK’S HYPER-COLOR PAINTINGS allude to a fluid, cellular, bodily or chemical world with its own rules and physics. Her work suggests paradoxes, simultaneities and illusions: the paradox that living things can now embody synthetic elements, the simultaneity of flatness and depth, and the illusion of movement that can be suggested within still images. The paintings are an imagined mirroring of the mysterious questions that define our relationship with the physical world. Art website
VALERIE JENKINS EXPLORES HOW PERCEPTION is shaped by cultural experience, how interpretation is conditioned by perception, and the way meaning filters through the significance of being and the banality of everyday life. In her new series titled ‘Figure/Ground” drawings and objects interrelate through an economy of means. Form results through a distillation of events, people and places. When viewed together, Valerie’s work functions as a lexicon of experience that is particular to the urban environment and cultural moment.


Laura Stack is a fiscal year 2015 recipient of an Artist Initiative grant from the Minnesota State Arts Board. This activity is made possible by voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.


Web Laura Stack Plasmora 23

Laura Stack – PLasmora #23, gouache on paper, 40″ x 50″

Web Laura Stack Shapeshifter 38 800px

Laura Stack – Shapeshifter #38, ink, gouache on paper, 26″ x 20″







Buettner and Krinke featured in City Pages

Daniel Buettner

Public artist Rebecca Krinke, whose work resonates with whatever community it appears in, recently mounted a project called the Black Box Camera Obscura on Northrop Plaza at the University of Minnesota. Part of the Pop-Up Northrop initiative, the work invites passersby to enter a small, windowless building where they’re beguiled by an inverted image of the outside. This weekend at Rosalux, Krinke comes inside, bringing with her an enormous black-curtained bed, an installation titled Insomnia. She says it’s a companion to Black Box, and speaks to her recent works, including the black books in which she journals and sketches. Also on view are new pieces by painter Dan Buettner, in which white paint washes across landscapes and objects of beautiful mystery, from which intricately detailed mushrooms pop as if after a spring rain. There will be an opening reception 7 to 10 p.m. Saturday, January 4, and an artists’ talk at 2 p.m. Saturday, January 25. (Pictured: Dan Buettner, Mushroom)

— By Camille LeFevre


ART HOUNDS: MPR State of the Arts – Laura Stack and Amy Toscani at Rosalux

ART HOUNDS:”Chaos and Control at Rosalux” features Carolyn Swiszcz talking about Laura Stack’s and Amy Toscani’s work in the Rosalux exhibition “Oddities and Curiosities”. Listen to the podcast at

The hounds mark their triumphant return to the radio by celebrating a band from New Jersey that isn’t afraid to raise its voice, a dance concert designed to raise awareness of water and its growing scarcity, and two artists who meld random creativity with intricate artistry.

When artist Carolyn Swiszcz saw “Oddities and Curiosities” at Rosalux Gallery in Minneapolis, all she could think about was getting to work in her own studio. It was that inspiring.

Swiszcz writes:

At the artist talk for their two-person show at Rosalux Gallery, Amy Toscani and Laura Stack both described how playing with materials they can’t control are essential to their art making process.

For Stack, it’s beginning many works on paper with what she calls a “pour” — dripping sepia ink onto large sheets of paper to create puddles edged with alluring rivulets. These become anchors for the masterful “botanical” renderings she collages on top – are they petals? Gray matter?

Toscani’s sculptures are made from cut up plastic storage bins and thrift store finds. They’ve been reassembled into surprisingly formal constructions — she described them as “drawings in space.” Though their work is quite different I took away some overlapping themes — the contrast of man-made vs. natural, and the sense of a powerful force behind growth that is both unsettling and jubilant.


More Great Press for Undertow

“Oh So Angsty Art”

By Gregory J. Scott, Minnesota Monthly blog, Friday, Jan. 4

Adapting is hard. Adapting is ugly. And if you’ve ever dropped your kid off at his first day of school—or if you’ve been that kid yourself, rubber-legging it down the hall to a new, foreign classroom—then you’ve felt the awful, psychic thrum of the threshold. There is an emotional horror-scape that exists between your old life and your new identity, and crossing it is traumatic. If this feeling had a spirit animal, it would be some thwarted, emerging specie, struggling mightily through a mutation and frozen halfway.

In fact, it might look like Rebecca Krinke’s new sculptural installation: an armless human whose torso tapers into a flat, platypus-like tail. The piece, which rests atop a battered old cabinet with drawers full of black bound notebooks, is not pretty. It is alarming and a little grotesque. But it’s presented reverently, as evidence. Like Krinke’s past work, it has the disinterred feeling of an archeological find. Consider it an anxiety mummy.

Krinke’s cabinet sets the tone, quiet and ghostly, for the Rosalux collective’s first show of the year, Undertow. She exhibits with Elaine Rutherford, a multidisciplinary artist interested in passage and boundary, especially as it applies to exiled and immigrant peoples. Usually, this territory lends itself to scolding identity politics. But happily, Krinke and Rutherford here stick to a more universally relatable rumination: the swirling morass of time, memory, coping, and transcendence.

Rutherford, who trained in Scotland, has a mom who collects porcelain figures. She resurrects this image from her childhood in Ce Que Vous Cherchez, a small boudoir shelf crammed with amorphous gobs of wax, smudged photographs, and a single-channel video display. The French title—“What You’re Looking For”—conjures an image of a grown woman crawling through the rooms of her past.

Undertow will make you feel—not sad, necessarily, but nostalgic, reflective, and maybe a little proud. Because some of us have made it through some tough transitions. Some of us still occupy the threshold. But Krinke and Rutherford seem to suggest that, maybe, the in-between is an advantageous place to be.


“Weekend What’s What: Undertow”

By Chloe Nelson, l’etoile magazine, Friday, Jan. 4

Undertow explores the elements of nature and personal tales that may be hidden by layers of memory and snow. Perfectly timed to coincide with the hope and mystery of the New Year, the show brings together two abstract Minnesota artists. Rebecca Krinke works primarily with sculpture and installation, while Elaine Rutherford layers multimedia and painting. The show should be thoughtful, delicate, personal and (at times) fantastical. Krinke and Rutherford’s current works weave together diasporas and cultural issues, which should get you thinking of inevitable seasonal, political and personal changes.



City Pages A List Features “Undertow: Rebecca Krinke and Elaine Rutherford”

Here is the article by Camille LeFevre:

Rebecca Krinke’s multimedia installations — particularly those in public places — elicit strong reactions. Tears. Memories. Storytelling. She has a remarkable ability to tap into the deepest recesses of emotion with seemingly simple concepts that invite viewers into a complexity of response. This weekend, she’s presenting new work at Rosalux in which her black-bound notebooks, some well-worn cabinetry, and a sculpture of a mysterious human-animal hybrid are presented in shivery juxtaposition. Krinke is joined by Elaine Rutherford, whose interdisciplinary installations bring past, present, and place into haunting relief. There will be an opening reception from 7 to 10 p.m. Saturday, January 5; and a gallery talk with Stuart McLean and Cynthia Malone at 4 p.m. Saturday, January 26.



Flashing Red: Citypages A List and Minnesota Monthly

Flashing Red: Tara Costello and Shawn McNulty were featured in Citypages and MN Monthly in April 2012.

CityPages A List


Shawn McNulty paints — with palette knives — large color fields in which layered abstractions emerge from beneath thick washes of color scraped away to reveal those mysteries below. There’s more texture too, in the form of pumice worked into the paint. Tara Costello layers Venetian plaster and raw pigment in shades of black and gray into large rich works of line, shadow, and texture. Both artists include blasts of fire-engine, burnt-orange, or Tuscan-hued red in some of their paintings, hence the “Flashing Red” title of their joint show opening at Rosalux Gallery this weekend. The works of both artists vibrate with immersive enticements. It’s not difficult to get lost in color, shape, action, brushstroke, or palette swipe. “The more abstract is form, the more clear and direct its appeal,” Wassily Kandinsky once said. In these works, the appeal is at once intellectual, emotional, and spiritual. 


Minnesota Monthly

minnesota monthly flashing red

Art Preview: Shawn McNulty and Tara Costello Like It Rough

By Gregory J. Scott

How is it possible that Shawn McNulty and Tara Costello have never shown together?

The two have been part of the Rosalux collective since seemingly forever—McNulty is actually a founding member—and their artistic auras are so cosmically intertwined that their paintings often feel like brother-and-sister twins separated at birth.

Could it be that there’s something dangerous about gathering them in the same gallery space? Some threat to the space-time continuum? Something….supernatural?


Because with Flashing Red, McNulty’s and Costello’s first-ever shared exhibition, the two Rosalux old-schoolers work like psychics at a séance. They’re raising the ghost of Abstract Expressionism.

Costello is Ad Reinhardt reincarnated as femme fatale, sexing up her black-on-nearly-black mindscapes with cat-scratch abrasions and notes of blood red. The surfaces of her works aren’t slick and smooth; Costello layers Venetian plaster with raw pigment, allowing pools and drips to harden into bumps and scars. The texture provides a nice mental grip-ability. It keeps the meditative works from dissolving into pure emotion.

And speaking of texture, McNulty’s paintings are chunky massacres of acrylic and pumice. Working exclusively with large, commercial-grade palette knives, he smears thick layers of color onto his surfaces, then chops and scrapes at them until he’s got a complexly battered topography. Critic Camille LeFevre once famously dubbed McNulty a Pollock-Rothko “love child,” merging the abstract color field paintings of the one with the action-splatters of the other. But McNulty’s technique feels too violent for love. I’d call him a Pollock-Rothko fistfight. Original Article