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Rose Olson


No Chromophobia

May 31 – September 6 (closed July 11 – August 2)

OK Harris Works of Art
383 West Broadway
New York, NY

Needed Yellow

A Community of Artists Exhibition 2008

May 31 – August 3, 2008

Danforth Museum of Art
123 Union Avenue
Framingham, MA 01702

danforth image

31st Small Works Exhibit

juried by: Richard Witter, OK Harris Works of Art, New York, NY

February 2 – March 14, 2008

80 Washington Square East Galleries
New York University
New York, NY

olson painting

Luxe, Calme et Volupté
A Meditation on Visual Pleasure
curated by Joanne Mattera

June 7 – August 26, 2007

Marcia Wood Gallery
263 Walker Street
Atlanta, Georgia

"...the serene horizontals, rising and repeating, of Rose Olson’s luminous paintings, metaphorical oceans or skies distilled to their essence..."
— Joanne Mattera, "Looking at Luxe, Calme et Volupté"

For online catalog and essay by Joanne Mattera:

photo: Joanne Mattera

photo: Joanne Mattera

30th Annual Small Works Exhibit
Juried by
Jim Kempner, Jim Kempner Fine Arts, New York, NY

February 3 – March 9, 2007

80 Washington Square East Galleries
New York University
New York, NY

photo: Adam Sylvia (courtesy of 80 Washington Square East Galleries)

Annual Juried Exhibition
juried by
Leslie Brown, Photographic Resource Center
Nina Nielsen, Nielsen Gallery
John Stomberg, Williams College Museum of Art

June 16 – July 30, 2006

Danforth Museum of Art
123 Union Avenue
Framingham, MA

The Viewer's Eye

paintings on wood and paper

May 2–27, 2006
Tues–Sat 12–5 PM or by appointment

Kingston Gallery
450 Harrison Avenue #43
Boston, MA

> View a slide show of the exhibit

Below: selected installation views


“Straightforward and delicate, Olson’s paintings suggest what thirteenth-century-painter Cimabue might have done had he been a color-field painter”
— David Raymond, Art New England, December/January 2007

"Another Boston painter, Rose Olson, has a quietly stunning show at Kingston Gallery...Olson has aptly used the minimalist form of stripe paintings to contain the mysteries of heat and cold, light and dark."
— Cate McQuaid, The Boston Globe, Friday, May 14, 2004

"...these imges assert themselves as objects. That they possess a meticulous glaze only reaffirms their presence. Despite the seeming regularity of her orderly compositions, Olson does not close out experimentation, flexibility or gesture...One thinks of prisms when looking at Olson's work. There's a crystalline fracturing of color into constituent bands, and almost a gilding to many of her surfaces...That gilding serves the traditional purpose of claiming space for the sacred, though within Olson's modernist idiom that sipirtuality becomes universal rather than denominational."
— Shawn Hill, artsMEDIA, May 2004

"Rose Olson's paintings temper mathematical precision with a sensual play of light and color...Her palette deliberately recalls glistening shades of nail polish, yet is handled with great restraint. The game seems to be in maintaining a meditative space with exuberant bursts of color...The effect is mesmerizing, the colored surface transmuting as one moves back and forth in front of the work."
— Diana Gaston, Art New England, June/July 2003

"Looking more closely, the complexity and richness given to these stripes of color by Olson's thinly applied horizontal and vertical layers of paint reveal that within these stripes she has in fact delineated a deep emotional and meditative space."
— Mary Bucci McCoy, Art New England, April/May 2003

Boston, MA; 978-927-3049