Shana Kaplow at Gallery 71, Reception March 7th

Shana Kaplow’s ink drawings are included in the Gallery 71 exhibition Situations.  A group exhibit with work by other local artists including Mary Bergs, Anne George and, Paula McCartney.

Exhibition opens on Feb. 10th.
Public Reception: Wed., March. 7th from 6:30-9:00 pm.
7141 France Av S
Edina, Minnesota, 55435
Hours: Saturdays 1:00 – 4:00pm

Shana Kaplow – Ink and gouache on paper, 30″ x 22″
Shana Kaplow



& Betsy Ruth Byers at Rosalux Gallery, Opening Feb. 3rd">Priscilla Briggs & Betsy Ruth Byers at Rosalux Gallery, Opening Feb. 3rd

ROSALUX GALLERY is pleased to present two solo shows by artists Priscilla Briggs and Betsy Ruth Byers. In For the Gods Briggs’s photographs relate ancient beliefs about caste and karma to contemporary economic and environmental issues in India.  In Remnants, Betsy Ruth Byers’ paintings meditate on the changing landscape at Glacier National Park.

Public Reception: Saturday, February 3rd, 7-10pm
Exhibition Dates: February 3-25th
Gallery Hours: Saturdays + Sundays: 12–4 pm

Priscilla Briggs – Temple Flower Market, Varanasi, Archival Ink Print, 18” x 27”
Priscilla Briggs

Betsy Ruth Byers – Remnant, Oil on Canvas, 16” x 16”
Betsy Ruth Byers

Priscilla Briggs / For the Gods 
While visiting the Golden Temple in Varanasi, Briggs lifted a garland of flowers from a basket of offerings to breathe in the aroma. The temple guide stopped her short, “The smell is not for you, it is for the gods.” This exhibition of photographs considers various facets of India’s economic and social structure in the wake of globalization and rapid growth. While the caste system is technically illegal, it is embedded in centuries of social structure and religious belief. The already wide contrast between rich and poor has been compounded by globalization and its effect on the environment. Through groupings of images, Briggs photographs represent environmental and economic contrasts.

Briggs is an artist and an Associate Professor at Gustavus Adolphus College. She holds a Master of Fine Arts from the Maryland Institute College of Art. Her research has been supported by artist grants from the McKnight Foundation and the Minnesota State Arts Board, as well as various professional research grants. Her work has been exhibited at the Landskrona Photo Salon in Sweden, the National Galleries of Scotland, the Minneapolis International Film Festival, the DeVos Art Museum, The Minneapolis Institute of Art, the Lousiville Photo Biennial, and the Living Arts New Genre Festival in Tulsa, OK. Her artist monograph, Impossible Is Nothing: China’s Theater of Consumerism, was published last year by Daylight Books. Priscilla Briggs

Betsy Ruth Byers / Remnants
This series, Remnants, was developed through a combination of direct observation at Glacier National Park and indirect reference of historical images from the USGS Repeat Photography Project Archive. Through the process of repeatedly returning to the same subject matter as a point of reference, Byers aims to hone a nuanced understanding of our subjective experience of place. The act of painting itself manipulates time, allowing Byers to transpose multiple perspectives into a singular, abstracted space. Utilizing paint to mimic glacial processes such as melt and flow, her paintings seek to intertwine past and present events.

Byers is an artist and an Associate Professor at Gustavus Adolphus College. She holds a Master of Fine Arts from the Minneapolis College of Art and Design. Her work has been exhibited at the National Galleries of Scotland, SCOPE International Art Fair, the Minnesota Museum of American Art, De Vos Art Museum, Hillstrom Museum of Art, University of Connecticut, Intermedia Arts, Guilford Art Center and The Soap Factory. Her work resides in several private, corporate and museum collections including the Weisman Museum of Art, Hillstrom Museum of Art, Target Corporation, Nordstrom Corporation, BMO Harris Bank, LPM Corporation, and Allina Health Center. Betsy Ruth Byers

This activity was made possible by an Artist Grant from the Prairie Lakes Regional Arts Council with fund provided by the McKnight Foundation.



& Pryor Gallery, Silverwood Park, Minnesota State University">Betsy Alwin’s Sculpture at Kolman & Pryor Gallery, Silverwood Park, Minnesota State University

Betsy Alwin will show her concrete and metal sculptures at Silverwood Park, Kolman & Pryor Gallery, and Minnesota State University during September and October.

INFRA: Betsy Alwin at Silverwood Park
Infra is a new outdoor concrete and metal sculpture that will be shown on the grounds of Silverwood Park, Three Rivers Park District, in St. Anthony, MN.
Opening Reception
: September 14th from 6:00pm – 8:00pm.
Exhibition Dates: September 14th – October 21st. 

“My interest in casting lace concrete forms is derived from my recent and current body of work that incorporates lace and ceramic form. I wanted to combine the delicate nature of lace with the harsh durability and weight of concrete. The decorative lace texture combined with the contrast of blue and white refers to domestic ware but also allows one to see the forms in a different way.  These cast forms are combined with rebar, emphasizing an industrial and construction context. I am also excited to experiment with larger forms in an outdoor public setting. In this way, my work can engage more viewers for longer periods of time.The title, “Infra-,“ is derived from Latin meaning under or below. Besides being the prefix of infrastructure, I also take it as a way to connote what is there but not seen; what is taken for granted.

3 Betsy Card Flatten













BEYOND CANVAS: Group Sculpture Exhibition at Kolman & Pryor Gallery
Opening Reception: September 23rd from 7pm – 9pm.
Exhibition Dates: September 16th – October 28th.
More information at

cast lace concrete forms by Betsy Alwin
Infra Image










BETSY ALWIN participating in Faculty, Emeritus, Alumni, 150!
A group exhibition celebrating 150 years of Minnesota State University, Mankato.
Opens: September 28th, Reception: October 8th 3:00 -5:00 pm.


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



Time/Keep : David Malcolm Scott and Rebecca Krinke

DMS RK Slider

David Malcolm Scott, Lake Superior Vista                         Rebecca Krinke, The Keep (detail)

Time/Keep : David Malcolm Scott and Rebecca Krinke

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:

Rosalux Gallery
1400 Van Buren Street NE, #195
Minneapolis, MN 55413


“Last Refuge” New Work by Eleanor McGough and a group show introducing three new Rosalux artists: Betsy Alwin, John Gaunt, Jim Hittinger

Our Show Image


The Let Down Reflex




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).

Shanas Mia Program


Getting To Know John Diebel and Terrence Payne

Getting To Know… is a monthly article we will be publishing along with our monthly exhibitions at Rosalux to give you the chance to get to know our exhibiting artists a little bit better.  We got the chance to catch up with our current artists on display John Diebel and Terrence Payne and this is what they had to say for themselves:

1. It has been six years since you have worked on an exhibition together, what drew you to show together again and how has your work as well as your approach to exhibiting together changed in that time?

JD: In the last two years I’ve changed my work considerably in terms of color usage, pattern, and technique. I’ve been influenced steadily by Terrence’s work over the years and I’ve always recognized it as communicating successfully through a sophisticated language of pattern and color- with an overlay of sardonic humor that suits my own view of the world. Each of us has his own individual interest in utopian follies, so it seemed a natural idea to show with him again.

TP: I am a huge fan of the Diebel and was really blown away by his last show at the gallery . His work is always inspiring to me and I thought that showing together again would be a great opportunity to explore some ideas I had been kicking around for a while and to push each other to do some new things and come out showing something more challenging than the norm for myself. When we met to discuss what we would do in the year leading up to the show we kept coming back to this idea of utopia and what it means and it seemed like a good starting point to build the work around. It was a lot of fun to see where we each would go from a similar starting point and has made for a great show.

2. You mentioned that you decided to structure your exhibition around the theme of utopia, how did you each use this when preparing your body of work for this exhibition?

TP: The thing that most intrigued me about the idea of utopia was personal sacrifice, what an individual was willing to give up from their own identity in trade for the happiness or piece of mind promised by another individual or group for their obedience. I decided that the best way to approach this was to have several ongoing concurrent narratives working together to tell the story of the whole with the entire body of work, the chronicle of different systems within the whole throughout the smaller groupings of work and finally on down to the singular experience of the individual taken on through each piece on its own. The larger narrative is held together through the honeycomb pattern in each piece with the unique iconography and text of each piece flushing out the more detailed narratives as you approach the individual experience. My hope has been to show the relationships between larger groups and individuals and how the two are in a constant back and forth dependent on each other for evolution and change.

JD: My own view of Utopianism has been shaped in part by my experiences while living in Berlin during the Cold War. At that time I was regularly able to access one of the showpieces of the Communist world and investigate its strengths and weaknesses at first hand. The imagery and architecture of that world still plays a large role in my work. But I was also the product of a popular culture that was becoming disillusioned about the coming technological utopia that had been marketed to it since the 1950s. Some of my new work incorporates the sort of monolithic future-city imagery I was exposed to in science fiction magazines of the 1970s.

3.  Did your understanding of this theme change as you prepared work for the show? if so how?

JD: It did, to a degree. I’ve been focusing in my work on specific historical events and structures for several years. It was only recently that I opted to move away from specifics and toward a generalized and idealized vision that represents my own engagement with the lost world of Communism or the flinching idealism of futurists in a rapidly unraveling world.

TP: Absolutely, I had initially thought about it from the individual experience and as I was creating the work I came around to the perspective of the leaders or systems that control the individual and started to portray their point of view as well.


4.  What was the biggest surprise you had in preparing for the show? Were there any “eureka” moments for you?

JD: The realization that I had had a “eureka” moment came only after I had hung my work at the gallery. Due to “real-world” circumstances I had gotten a late start on my work for the current show. I had planned a full series of large-scale, highly detailed collages that just couldn’t be completed in time for the opening date, so, in an act of desperation or inspiration I turned to my archive and found a trove of loose images cut from books that I had accumulated years ago when I was experimenting with found imagery. I quickly adapted these as backgrounds for images of sterilized, futuristic utopias that were independent of the historically-based larger collages. It turned out at the opening reception that these pieces were very well received and sold out quickly.

TP: My experience was similar to John’s. I am not really ever able to see how my work will relate until I get it up in the gallery due to the size of the work and the limited space of my studio but I was pleasantly surprised to realize that it actually fell into place as I had planned. It is always a bit nerve racking wondering if everything will work out up until that point and it was a big relief to see it how the individual pieces related to one another and then the added bonus that John’s work and mine fit so well together also.

5. How do you get from the first spark of an idea to a finished work for exhibition?  Where do your ideas come from?

TP: I keep a lot of lists. While I am drawing one piece I am always thinking of what might come next and write down my ideas on my drawing table. Sometimes it starts with a phrase that keeps popping into my head and I build the imagery around that, other times it is an object or an image that I think is interesting and in line with the theme for the show. Once I have that I do a lot of sketching using tracing paper to overlay images and word until I have a composition that I like and then I determine the scale and palette for the piece before I do the final rendering of the drawing.

JD: I have a large collection of books, magazines, and other source materials which frequently serve as a starting point in my creative process. For my current work I researched texts and drawings of unrealized utopian cities and combined that information with what I know from my own experiences in Germany. The first work began with rough thumbnail sketches that helped me to develop a sense of space and volume within a rectangular composition. My next step was to work up a digital maquette for each piece using Adobe Illustrator, which allowed me to construct each image in detail, including any repeating shapes and patterns that became prominent in the final pieces. Each digital file also served as a map for me when making and adjusting color choices before purchasing paper, as well as a literal to-scale guide when cutting the paper. The cutting process was done both by hand or with the aid of a plotter for particularly complicated shapes. The assemblage of the final image began with the preparation of an acid-free surface followed by a painstaking job of gluing each piece in the right place, on the right layer. The final composition is composed of many layers of cut paper -each color representing a separate piece. Many of the layers are unseen in the final image, but they serve to buttress other layers in order to avoid creasing where shapes overlap. The built-up areas also project an added illusion of depth, which works well with the perspective and shadows I employ.

6.  You both seem to communicate with your audience through symbolism, How do you choose the imagery in your work?

JD: My own symbolism is derived from some of the ubiquitous forms of heroic propaganda. Wreaths, flags, sheaves of wheat; all of these help to re-enforce a sense of nationalism which has been crucial in creating the illusion of a utopian society set apart from the rest of the world. The building types, themselves, are also emblematic of human behavioral engineering that met the blunt end of economic reality. Large-scale apartment blocks which were originally conceived as “residential machines” that would help collectivize a new society have, in the aggregate, become synonymous with monotony, conformity and domination.

TP: I try to use imagery that people might already be familiar with and have associations to. I think it is helpful in communicating with an audience if you have common ground to start on and then lead them from there in the direction that you want them to go. I like to take peoples expectations about what something is and turn it askew to make them take a second look and think about things differently and what their relationship to the point of view of the work might be.


7.  You both have a very graphic and commercial style to the rendering of your finished pieces, do you have a background in design and if so how does that influence the work you make?

JD: I have a background in educational software design and print design, the former of which has influenced some of the content of my artwork and the latter influencing some of my practice. But my overall method differs somewhat between my art practice and my design work. A primary difference is that design work is generally client-driven with much feedback and an element of compromise that may not always suit my own vision. With art-making I am working wholly under my own regime which requires me to maintain some degree of faith that my original idea will manifest itself finally in a functional, forceful way. The conception of an image on paper and its development in the computer would seem to be the most creative, playful parts of my workflow, but there are many times when choosing paper stock, cutting or pasting that creative opportunities arise, forcing decisions on the fly- sometimes with only a few seconds to act before the glue dries.

TP: For me it is the value of communication. I use an illustrative style with patterns and text because these are all design elements that people are comfortable with and used to responding to from their experiences with print media. It goes back to the idea of playing around with your audiences expectations and leading them from common ground.

8.  What has been the most rewarding moment in your career up to this point?

JD: A few years ago three of my pieces were chosen for the 2DII Biennial show at the Minnesota Museum of American Art, two of which were purchased by the museum for its permanent collection. That was a great honor, but I think that the most rewarding moment is when I am able to witness the enthusiastic reception of my new work on opening night. That, and selling it, of course.

TP: I usually try to focus on the next challenge I can create for myself rather than what has been successful for me in the past because I think it can really slow you down to dwell on the past, but if I had to pick something it might be the wallpaper that I designed for Hygge & West over the past year. It is pretty cool to think that I was able to take an element of my artwork and transform it into something that people will use in a more utilitarian way in their homes. To be a part of peoples everyday lives like that on a larger scale than is possible through my art and to reach a brand new audience as well is pretty exciting.

9.  What would you like to hear people say about your art?

JD: May I pay you twice your asking price?

TP: What John said.


10.  You have both been a part of rosalux for some time now, how has the collective affected the way you make art?

TP: I have learned a lot over the years from the artists I have had the opportunity to work with through the gallery. I am always impressed with the leaps they make in their work from show to show which pushes me to make the best work I know how. When I see an artist from the gallery do something totally amazing my first reaction on a personal level is, “man I suck” and the next is, ” how can I do better?” As a group we are constantly pushing one another to do the best work we can and I think that has been really important for me over the years in keeping my work moving forward and evolving in a positive direction.

JD: I feel that I am always learning from the wide variety of experience and talent amongst the Rosalux members. As I make my work I have them in mind as an important component of my critical audience, which keeps me on my toes, and as friends, which is a source of strength for me. Whether I need a critical eye or just a steady hand to help me install my work, I have been lucky to have access to this accomplished and generous group.

11.  What are the best and worst parts of being an artist for you?

JD: One of the best parts of being an artist comes as the result of enduring one of the worst parts, which is a prolonged period of anxiety that accompanies risk-taking while developing something new. It really is tortuous trying to get work done while wondering if you’re actually going to pull it off. When it works, the payoff is unbelievable; making all the months of stress and doubt seem like a passage.

TP: The best part for me is the reactions people have to my work at a show and seeing it fresh through their eyes. The worst part is the isolation of working alone in the studio and wondering if anyone is going to get it. I suppose one is dependent on the other and you can’t have the sweet with out the sour so whatever.


12.  What is coming up next for you?

JD: I’ll be exhibiting work at the Anderson Center at Tower View in Red Wing, Minnesota through December and I will have a new show at Rosalux in April of 2014 along with Jonas Crisco.

TP: I’ll be exhibiting some new smaller drawings at the SOO Local which is a new satellite gallery of SOOVAC this coming November and December in a group exhibition with other local artists as well as working on some new projects coming up next year as well as whatever else pops up along the way. You can keep up to date through my website at: