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Rose OlsonBoston, MA; 978-927-3049rose@roseolson.com

 
SELECTED ONE PERSON EXHIBITIONS

2018 COOL SUMMER, Hutson Gallery, Provincetown, MA
2017 BRIGHT COOL and HOT, Kingston Gallery, Boston, MA
2017 Like a Dragonfly's Wing, Hutson Gallery, Provincetown, MA
2016 four-squared, Kingston Members' Gallery, Boston, MA
2015 Ju Ju Blues, Kingston Gallery, Boston, MA
2015 Four Women, Susan Maasch Fine Art, Portland, ME
2014 Keeping it Together, Kingston Members' Gallery, Boston, MA
2014 Rose Olson, Geoform curated by Julie Karabenick, online
2013 2CLOSE and some in real color, Kingston Gallery, Boston, MA
2013 Rose Olson, Susan Maasch Fine Art, Portland, ME
2013 Light Moves, Kingston Gallery, Boston, MA
2012 Light and the Viewr's Eye, Art Trace Gallery, Tokyo, Japan
2011 Doubles, Kingston Gallery, Boston, MA
2010 Color, Soft as Memory, Gallery at the Barrington Center for the Arts, Gordon College, Wenham, MA. Curator: Barbara O'Brien, Chief Curator, Kemper Musem, Kansas City.
2010 Waking in the Blue, Kingston Gallery, Boston, MA. Curator: Leonie Bradbury
2009 Rose Olson's Paintings, Susan Maasch Fine Art, Portland, ME
2009 Ju Ju Summer 4G, Kingston Gallery, Boston, MA
2009 Full Complement, Carol Schlosberg Gallery, Montserrat College of Art, Beverly, MA
Curator: Leonie Bradbury, Curator/Director, Montserrat College of Art
2008 Just Color No Curves, Kingston Gallery, Boston, MA
2006 The Viewer's Eye, Kingston Gallery, Boston, MA
2006 Abstract Considerations, Beverly Farms Branch Library Gallery, Beverly, MA (BCC Grant)
2005 Intimate Interaction, Kingston Gallery, Boston, MA
2004 Keeping it Together, Kingston Gallery, Boston, MA
2004 Rose Olson Paintings, Carol Schlosberg Gallery, Montserrat College of Art, Beverly, MA
2003 New Paintings, New Drawings, Kingston Gallery, Boston, MA
2001 No Curves Just Color, Wareham Kingston Gallery, Boston, MA
2001 Color Edge, HallSpace, Boston, MA
2001 Cirrus, Kingston Gallery, Boston, MA
1997 The Sabbatical Project, Monsterrat College of Art, Beverly, MA. Curator: Barbara O'Brien


SELECTED GROUP EXHIBITIONS

2018 Artists Explore SERIES, Cultural Center at Rocky Neck, Gloucester, MA
Curator: Barbara Moody
2017 All the Members: Relay, Kingston Gallery, Boston, MA
2016 I Know Just What You're Saying, Kingston Gallery, Boston, MA
2016 Hutston Gallery, Provincetown, MA
2016 Artrageous!30, Montserrat College of Art, Beverly, MA
2016 10X10X10XTIETON, Mighty Tieton, Tieton, WA
2015 Hutston Gallery, Provincetown, MA
2015 Ground Cover, Kingston Gallery, Boston, MA. Curator: William Kaizen
2015 Arts Connect at Catamount Arts, Catamount Arts, St. Johnsbury, VT. Curator: Katherine French
2015 10X10X10XTIETON 6th Annual Exhibition, Mighty Tieton, Tieton, WA
2015 Artrageous!29, Montserrat College of Art, Beverly, MA
2014 Eight Woman Abstract Artists 8 x 8, Susan Maasch Fine Art, Portland, ME
2014 Hutson Gallery, Provincetown, MA
2013 Huston Gallery Highlights, Series 2, Hutson Gallery, Provincetown, MA
2013 Susan Maasch Fine Art Opening, Susan Maasch Fine Art, Portland, ME
2012 WOOD, McGladrey Art Gallery, Charlestown, MA. Curator: Christina Godfrey
2012 XXX, Kingston Gallery, Boston, MA
2012 Transformation, The Gallery at Porter Mill, Beverly, MA
2012 Community of Artists, Danforth Museum of Art, Framingham, MA
2012 Hutsons Gallery, Provincetown
2011 OFF THE WALL, Juried Exhibition 2011, Danforth Museum of Art, Framingham, MA
Juror: Susan L. Stoops, Curator of Contemporary Art, Worcester Art Museum
2011 Massachusetts Artists 2011: Contemporary Art, Brush Gallery, Lowell,MA
Juror: Jen Mergel, Senior Curator of Contemporary Art, Museum of Fine Arts, Boston
2011 New England Collective II, Galatea Fine Art, Boston, MA. Juror: Joanne Mattera
2011 Reaching for the Sky, 4 Artists, Hutson Gallery, Provincetown, MA. Curator: Philip Gerstein
2011 Dialogues, Kingston Gallery, Boston, MA
2011 Seeing in Color, 119 Gallery, Lowell, MA. Curator: Stetheyny Pen
2011 Points of Departure, Gallery Della-Pianna, Wentham, MA
2011 STILL, Kingston Gallery, Boston, MA
2011 Chain Letter Exhibition, Samson Projects, Boston, MA
2010 This Collective Pull: A Mass Collaboration, fivesevendelle, Boston, MA
2010 Extreme Scale, Fidelity Investments 12th Annual Juried Exhibition, Providence Art Club.
Jurors: Diana Gaston, Fidelity; Meg White, DIrector, Gallery Naga; Beth Kantrowitz
2010 Community of Artists, Danforth Museum of Art, Framingham, MA .Juror: Katherine French
2010 Twenty 10, Kingston Gallery, Boston, MA
2009 Small Works, Steinhardt Galleries, New York University, New York, NY
Juror: Daniel Ferris, Director, Stephen Haller Gallery, New York, NY
2009 Ten Webster Salon, Kingston Gallery, Boston, MA
Curator: Leonie Bradbury, Curator/Director, Montserrat College of Art, Beverly, MA
2009 Petites Choses, Susan Maasch Fine Art, Portland, ME
2009 Off the Wall, Danforth Museum of Art, Framiingham, MA
Jurors: Joseph Carroll, Director, Carroll & Sons, Boston, MA; Lisa Tung Curator, Mass College of Art, Boston, MA
2009 Dux Femina Facti: A Woman is in Charge, Susan Maasch Fine Art, Portland, ME
2009 Summer Party Silent Art Auction, Museum of Fine Arts, Boston, Boston, MA
2008 Consequences of Geometry, McCoy Gallery, North Andover, MA. Curator: David Raymond
2008 No Chromophobia, OK Harris Works of Art, New York, NY. Curator: Richard Witter,
2008 small works, Steinhardt Galleries, New York University, New York, NY.
Juror: Richard Witter, OK Harris Works of Art, NY
2008 Calculated Color, Higgins Art Gallery, West Barnstable, MA. Curator: Jane Lincoln
2008 Canvasations, Gallery XIV, Boston, MA
2008 Community of Artists, Danforth Museum of Art, Framingham, MA
2007 Consequences of Geometry, McCoy Gallery, North Andover, MA. Curator: Craig Bloodgood
2007 small works, Steinhardt Galleries, New York University, New York, NY.
Juror: Jim Kempner, Director, Jim Kempner Fine Art, New York, NY

2007 Community of Artists, Danforth Museum of Art, Framingham, MA. Curator: Katherine French
2007 Luxe, Calme et Volupté, Marcia Wood Gallery, Atlanta, GA. Curator: Joanne Mattera
2007 Abstract & Geometric, Woman Made Gallery,Chicago, IL.
Juror: Julie Karabenick, Editor/Curator, www.geoform.net
2006 13th Annual Juried Show, Essex Art Center, Lawrence, MA
Juror: Brian Allen, Director, Addison Gallery of American Art
2006 Making It New, Montserrrat College of Art Gallery, Beverly, MA
2006 Annual Juried Exhibition, Danforth Museum, Framingham, MA
Jurors: Leslie Brown, Photographic Resource Center; Nina Nielsen, Nielsen Gallery; John Stomberg, Williams College Museum of Art
2006 To the Power of 10, Ahimsa Gallery, Dorchester, MA
2005 I Protest, HallSpace, Boston, MA
2005 Invited, Kingston Gallery, Boston, MA
2004 Blue, University Place Gallery, Cambridge, MA
Juror: Rachel Rosenfield Lafo, DeCordova Museum, Lincoln, MA
2004 Town and Gown, 6 artists, Montserrat Gallery, Beverly, MA, Curator: Katherine French
2004 Generations ’04, A.I.R. GALLERY, New York, NY
2003 Variations on the Masters, Fletcher/Priest Gallery, Worcester, MA
Jurors: Susan Stoops, Worcester Art Museum; Roger Dunn
2003 Deep Listening, GoMA Gallery of Modern Art, Marblehead, MA
2003 Wide Turns and Frequent Stops, Kingston Gallery, Boston, MA
2002 New England New Talent, Fitchburg Art Museum, Fitchburg, MA
Jurors: John Woodward, Woodward Gallery, NYC; Lisa Skrabec, Babcock Galleries, NYC; Catherine Redmond; and Anja Chavez, curator
2002 Inner Voices, GoMA Gallery of Modern Art, Marblehead, MA
2002 Kingston@20, Kingston Gallery, Boston, MA
2002 Large, 4 Artists, Montserrat College of Art Gallery, Beverly, MA
Generations III, A.I.R. GALLERY, New York, NY
2001 Alumni/ae Juried Exhibition, Tufts University Gallery, Aidekman Arts Center, Medford, MA. Jurors: Miles Unger, New York Times critic; Elizaeth Stevens, Salander-O'Reilly Gallery, NYC; Edmund Gaither, Director, National Center of Afro-American Artists
2000 Open Season, HallSpace, Boston, MA,. Curator: John Colan
2000 Generations II: A Survey of Women Artists at The Millennium, A.I.R. GALLERY, New York, NY
2000 Charged, Kingston Gallery, Boston, MA
2000 150 x 150, The Gallery @ Green Street, Jamaica Plain, MA
2000 Artist Books, Cabot Gallery, Montserrat College of Art, Beverly, MA
1999 3rd Biennial Exhibition, A.I.R. GALLERY, New York, NY
Juror: Elizabeth Sussman, Curator, Whitney Museum of American Art, NY
1998 In the Spirit of Drawing, Brickbottom Gallery, Somerville, MA
1997 Fusion, WCA, Harbor Art Gallery, UMASS Boston, Boston, MA
Jurors: Sam Walker, Dorothy Simpson Krause; Judith Brassard Brown
1996 National Juried Exhibition, Bristol Art Musuem, Bristol, RI
Juror: Diane Johnson, RISD Museum, former Director, Bell Gallery, Brown University
1996 144 Square " International Small Painting Competition, Erector Square Gallery, New Haven, CT
Juror: Robert Reed, Professor, Yale School of Art
1996 Boston Women’s Caucus for Art, Rothschild Gallery, Radcliffe College, Cambridge, MA
   
SELECTED AWARDS

2010 Cornelia Endowed Fund, gift of Gail and Ernst Von Metzsch, in honor of Cornelia von Metzsch
2006 Massachusetts Cultural Council Award, Beverly, MA
2004 Cornelia Endowed Fund, gift of Gail and Ernst Von Metzsch, in honor of Cornelia von Metzsch
   
SELECTED COLLECTIONS

2017 Philip Schiller & Kim Gesset, CMO of Apple Worldwide, Half Moon Bay, CA
2014 Bank of Montreal, Boston, MA
2010 Fidelity Investments, 82 Devonshire Street, Boston, MA
2009 Astra Zeneca R+D Boston, 35 Gatehouse Drive, Waltham, MA
2007 Montserrat Condo Project Installation, Beverly, MA
1996
Donadio & Ashworth, Inc., 121 West 27th Street, New York City
   
GALLERY AFFILIATIONS
 
Susan Maasch Fine Art, Portland, ME www.susanmaaschfineart.com
Kingston Gallery, 450 Harrison Ave, No. 43, Boston, MA www.kingstongallery.com
Hutson Gallery, 423 Commercial Street,Provincetown, MA www.hutsongallery.net
Geoform.net, Julie Karabenick, editor/curator, online gallery www.geoform.net
   

SELECTED CRITICAL OVERVIEW

"Hot is cool at Kingston: Abstract painter Rose Olson, whose collection of "Bright, Cool and Hot" paintings...channels the skies above the water at West Beach..."
Brian Goslow, Artscope, Nov/Dec 2017

"MULTIGENERATIONAL VIEWS IN BOSTON...Three Olsons unite in 3 VIEWS: "Bringing an eye for realism into the mix is Elizabeth Olson presenting photographs taken over 4 years... Bradford Olson's sculptural forms seemingly dripping with liquid color... Rose Olson, paintings exhibiting at Center Gallery
The Take Magazine, December 12, 2017

Rose Olson's Luminous Abstractions: 'They Want Open Air, Open Light, Open Windows'...Her current exhibition, "Bright, Cool and Hot," continues at Boston's Kingston Gallery through Dec. 30...Olson's flat, hard-edged, geometric compositions can bring to mind the midcentury abstractions of Mark Rothko or John McLaughlin. Though hers are more crisp than Rothko's airy glowing TV clouds and shimmer more than McLaughlin's opaquely painted Zen graphics...Olson's thin glazes of color sit up on the wood and glisten...Before 2000 or so, "I was doing large paintings on canvas, they were enormous." Then, she says, "I got a hold of a piece of wood...There's no grain that I've ever seen that matches another grain that I've ever seen...They're as unique as the human fingerprint." Olson's thin glazes of color sit up on the wood and glisten, rather than being absorbed as would likely happen on canvas. They're about light passing through the color and bouncing back imbued with harmonies of reds and oranges and yellows and lilacs and overcast blues. The effect is sensitive to changing atmospheres. Olson says, "They want open air, open light, open windows."
Greg Cook, Wonderland, December 12, 2017

"Olson presents four-squared, an exhibition of square paintings arranged in groups of four. Her unique method of applying sheer acrylic layers onto wood panel gradually builds shimmering, changeable planes of pigment. The works come about as a balance between planning and sensing, so that color is at once withheld and expansive. The wood-grain patterns that are visible through the pigment provide linear effects to complement the spare, yet intensely hued bands of paint. The character of the grounds, always a unique piece of wood, effects the way the color is received. Hard edges and lush layers enhance the spatial and surface effects to reveal myriad alternative versions of each work. "
Flux Boston, October, 2016

"Maasch's curatorial conversation begins and ends with Olson's work, so to be greeted by her subtle, high-craft abstract panels is a curatorial bit of brilliance...Olson's monochrome abstractions on panels feature an insistent main color set into relief by a hard edge stripe or two. The stripes range from barely perceptible bands of opalescent "interference" pigments to a scorchingly solid stripe of magma-hot magenta. What takes place on center stage, however, is oddly nuanced insofar as it defies our expectations: The expansive wooden panels are glazed with scores of largely transparent layers of paint. But while a large painting will appear to us as, for example, solidly and uniformly red, the monochrome field acts like a filter – or, better, a frame – through which we are led to consider the beautiful graining patterns of the wooden panel. This effect defies our expectations..."
Daniel Kany, Portland Press Herald, November 15, 2015

"The group is rounded out by Rose Olsen, whose elegantly beautiful works push abstraction to the liminal edge of the finely finished object..."
Daniel Kany, Portland Press Herald, December 29, 2013

"Though one might see Olson's work as rigid, closer scrutiny reeals a lush emotional experience unique to the individual, each movement of light presenting a different perspective... this exhibit may be the reminder we need to stop and smell the roses."
—Sarah Flynn, Experience/Dig Boston, February 26, 2013

"Rose Olson offers nuanced luminous paintings on wood veneer...The wood grain remains visible but showered with light....But it's the evanescent veils of hues that—like Kun's references to the Hudson River School—evoke the sublime."
—Cate McQuaid, The Boston Globe, December 21, 2011

"Included among: '20 art shows to see this winter' Walking in the Blue, Kingston Gallery, Boston
—David Wildman, Time Out Boston, November 9, 2010

"Olson's "Slipping Into Byzantium" uses a titanium blue palette offset by a single, thin orange stripe that bisects the piece. It is so simple and elegant that it achieves an almost papable calm. Because Olson's work seeks to incorporate the viewer's body in real time without words, it is deeply sensual, but in a meditative rather than a verbally narrative sense."
—Daniel Kany, Portland Press Herald, October 11, 2009

"Colorist Rose Olson has a summery little show in Kingston's members' gallery. She paints like a minimalist, in simple horizontal bands of color, but her work is lush. Her thin washes on wood panel let the wood grain show through, revealing the organic through the geometric...Now and then she uses almost transparent opalescent pigments. "Warm Encounter" is mostly bright orange, with bold purple stripes and a thread of blue, set off by the barest veil of sparkly silver that winks at you, if you care to notice. These quiet nuances play beautifully against her warm, gaudy contrasts."
— Cate McQuaid, The Boston Globe, June 10, 2009

"Rose Olson paints horizontal bands of acrylic on vertically-grained maple veneered panels. Thinly applied layers of glossy translucent pigments—highlight variations in the wood’s grain....luminous color shimmers…"
—Anne Krinsky, Art New England, December/January, 2009

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 images 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 spirituality 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