Open Door 8 Exhibition

Exhibit runs: December 8th – 30th
Opening Reception:
Saturday December 8th, 7-10pm

Rosalux Gallery is excited to present “Open Door 8”, its eighth annual juried exhibition. “Open Door” is an opportunity for non-member artists to gain exposure and to exhibit their work at Rosalux. Christina Chang, Curator of Engagement at the Minnesota Museum of American Art, juried this year’s exhibition. Selecting from a number of entries Christina assembled an exceptionally thoughtful and cohesive show featuring the works of both local and national artists. Featured artists include:

Adam White, Alyssa Baguss, Andy Mattern, Brittany Petersen, Carey Dean, Chris Motley, Connie DK ­Lane, Dana Sikkila, Derek Cracco, Doug Johnson, Eleanor Mcgough, Emily Christenson, Francoise Duresse, Jaime Vu, Jarmo Koponen, Jarred Pfeifer, Jason Young, Jessie Henderson, Johanna Winters, Josh Bindewald, Jehra Patrick, June Lee, Kim Matthews, Laren Friedman, Lauren Wilcox, Maegan Stracy, Margi Weir, Mark Klassen, Melanie Lowrance, Molly Wicks, Morgan Pease, Nathan Stromberg, Rachel Breen, Rhea O’neail, Shanna Fliegel, Suzann Beck, Terry Schupbach Gordon, Travis Errickson, Viktor Witkowski, Xia Gao, Dane Winkler, Rhea O’Neill

Christina Chang is the Curator of Engagement at the Minnesota Museum of American Art. Originally from California, she earned her BA from the University of California at Berkeley (Cal) and her PhD in art history from the University of Michigan. She has served as an assistant curator at the Weisman Art Museum on the campus of the University of Minnesota and is currently on the Board of Directors of Photography @ the Center, a nonprofit organization started by the co‐founders of the Minneapolis Photo Center.

Juror’s Statement

“I was thoroughly impressed by the high quality of work submitted for consideration in this edition of Rosalux Open Door. I selected work that felt fresh and contemporary to me. I must admit that I favor painting, and this is evident in my selections for the show. In my own defense, the ratio of paintings in the exhibition roughly matches the ratio of paintings submitted. There were many great paintings to choose from, soundly debunking the notion that painting is dead. I’d go one step further to say that the disfavor painting has suffered for being a well-established tradition and “old” compared to new media, has had the effect of lending it a subversive edge. On the other hand, sculpture in the traditional sense seems to lack currency at the moment, with several artists in the show preferring the three-dimensional object or installation. I will certainly watch to see how this plays out in the next few years, for underdogs never fail to surprise.

Print made a strong showing, and I was especially intrigued by artists who stretched the limits of printmaking, of what “making a print” can mean. Fiber and clay were used in unconventional ways, and I think the continued blurring of the line between art and craft is productive. I admire artists who are, like Robert Rauschenberg, ingenious at finding new contexts and value for things that are usually discarded, such as old newspapers and unrecyclable plastic. Finally, a few pieces defied categories. I was not sure what it was and may not have immediately liked it, but it gave me pause, and these days a break in commentary is a meaningful if unsettling experience.”