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Roseline Michael Neveling

@roseneveling

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Partner & Gallerist @ruttkowski68
Superfan @kochibiennale
NYC | DACH | INDIA

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Brittany Miller
Primal Sound

In Brittany’s studio over the months leading up to Primal Sound, nothing ever felt hurried. The paintings revealed themselves gradually. One mark would newly vibrate. Another would quietly disappear. Her meditative lines settled slowly across the surface. Watching Brittany’s process, I had the sense that observation and time were as much her medium as paint.

I met Brittany’s dog, Cisco, and her cat, Yuri, on my first studio visit. Cats make me nervous. On my next visit, Yuri was quietly in another room. We had never spoken about it. She had simply noticed.

I saw that same attentiveness in the gallery.

Brittany teaches a class of neurodivergent students, and we had created a scavenger hunt for their visit to the exhibition. I watched her guide them through the gallery. She never hurried them toward an answer. They looked before they interpreted. They trusted perception before explanation. They were unmistakably their teacher’s students.

Months earlier, Brittany had introduced me to the essay Primal Sound—Rainer Rilke’s century-old reflection on following a peculiar idea wherever it leads. Watching her with her students, I recognized that same freedom of thought.

By then, I had stopped thinking of Primal Sound as the title of an exhibition. It had become my phonograph needle into Brittany’s curious mind.

@ruttkowski68 @brittanyjmiller #chapter7 taken in Ruttkowski68 by @roseneveling

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2 months ago

We the Structures
February James, Andrew Kass, Baseera Khan

With arches, construction materials, and framed houses throughout, it’s easy to think We the Structures was a show about structures.

It wasn’t. The subject was always the “We.”

The exhibition took its cue from the preamble to the U.S. Constitution: what binds “We the People” together today? What is the scaffolding, today, for the American experiment?

For February James, Andrew Kass, and Baseera Khan, these questions were already embedded in their work. February through family and identity. Andrew through the built environment. Baseera through ritual and belonging.

The gallery became a gathering place for an unexpected mix of We’s. @arttableinc @ihousenyc Neighbors. Artists. Students. Curators. The conversation continued beyond the gallery walls too, in Simon Wu’s beautiful essay responding to the exhibition.

When I wrote the exhibition text, I described We the Structures as an “artist’s preamble to a more perfect union, still under construction.” On the nation’s 250th birthday, I find myself returning to that final line.

@ruttkowski68 #februaryjames @andrewkass @baseerakhan #wethestructures #chapter6 taken in Ruttkowski68 by @roseneveling

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3 months ago

Joya Mukerjee Logue
Your Presence Is Requested

Joya paints the atmosphere between people.

Not the headline moment, but the one just before it. The glance. The hesitation. The shifting energy in a room when one person becomes aware of another.

Over the years, I’ve had the privilege of watching those moments quietly transform her practice. The narrative became quieter. The color became more confident. The mood became everything.

With Your Presence Is Requested, Joya’s focus on the night seemed to unlock something. Darkness served as the medium. Atmosphere, color, and feeling all grew richer, deeper, more expansive.

Again and again, I watched visitors find themselves in the paintings. They saw Sevilla. Cairo. Savannah. Rajasthan. A courtyard. A dinner table. A familiar street. A life they recognized.

And yet these paintings are not about nostalgia. They belong completely to the present. They don’t ask us to remember where we’ve been. They ask us to notice where we are.

Our presence was requested. The invitation was hers. The privilege was ours.

@ruttkowski68 @joya_mukerjee_logue #chapter5 taken in Ruttkowski68 by @roseneveling

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3 months ago

WOMBAT
Fantasy Nightmare Reality:
waging onwards mental battle against treacherous images created by masters

A picture is worth a thousand words.
A video, ten times more.
But sometimes, you just had to be there.

@ruttkowski68 #wombat #chapter4 taken in Ruttkowski68 by @roseneveling

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4 months ago

Prosper Legault
A Trip in the Street: Hidden Poems and Treasures

A few weeks in the Bronx were all Prosper needed to assemble a cast of characters and collaborators. A neighbor. A shopkeeper. A mechanic. Someone he’d met the day before who had somehow become part of his process.

The exhibition worked the same way. Prosper salvaged shop signs, advertisements, posters, and other remnants of city life, reworking them into tongue-in-cheek sculptures and installations that amused and provoked in equal measure.

Part treasure hunt, part urban archaeology. Prosper followed what interested him and trusted the connections to reveal themselves.

After particularly long days in the gallery, Tommy and I would sometimes play Il y a, our favorite of Prosper’s new tracks (because, yes, he’s also a musician). It felt strangely fitting. The song starts with fragments and gradually finds its rhythm. So does Prosper. That’s usually when something interesting happens.

@ruttkowski68 @prosper.legault #chapter3

Photo 1 + 7: May James for Zolima CityMag taken in Ruttkowski68 by @roseneveling

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4 months ago

Heather Bause Rubinstein
Out of the Woods

If you know Heather, you know there is an irrepressible energy to both her work and her personality. It runs through her paintings, her cut-flower garden upstate, and her dinner parties where artists, writers, neighbors, and friends inevitably end up deep in debate around her dining table.

In Out of the Woods, that kinetic energy took shape in abstractions that translated the natural world into gesture and feeling. Heather’s woods are monumental “inscapes” that hold the tensions of the physical and inner worlds.

There is an urgency to Heather’s mark-making that can be a little breathtaking to watch. Nothing is precious. Forms are pushed, buried, scraped back, and rebuilt until the paintings arrives somewhere unexpected. Trees, paths, and undergrowth appear and dissolve. Her forest remains, but as a place where we lose our path and find a truer one.

@ruttkowski68 @heather_rubinstein #chapter2 taken in Ruttkowski68 by @roseneveling

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4 months ago

François Halard Conversation with Claude

In François’ second exhibition with the gallery, he transformed visits to Monet’s garden at Giverny into something more personal: a dialogue between two artists separated by a century, connected by a shared fascination with light, reflection, and looking closely.

François begins with a camera and ends with a brush, blurring the boundary between recording a place and responding to it. His works started as Polaroids captured in Giverny, enlarged as pigment prints and then painted by hand.

François has the gift of making everyone around him feel like an old friend. In its own way, the exhibition did too. The intimacy of the installation (courtesy of @onetouchnilsone’s unmatched eye). François’ oil-stick handwriting on the gallery wall (ASMR heaven). Friends showing up on opening night, so I’d have familiar faces in the room (thank you!). And works that kept drawing me back, with my favorites changing more than once over the course of the exhibition.

@ruttkowski68 @francoishalard #chapter1 taken in Ruttkowski68 by @roseneveling

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4 months ago

Nine months ago, I became a gallerist.

I traded the adrenaline of auction rooms, the influence of board rooms, and the intimacy of advisory work for the beautiful chaos of gallery life.

Since then, life has been measured in install-week miracles, red-eyes for 6-hour trips, _V17_final_FINAL.pdf, and more WhatsApp threads than I thought humanly possible.

I remember changing course at the eleventh hour and watching Plan B steal the show. Dinners where no topic stayed off-limits for long. Holding my breath as an artist saw a finished install for the first time. The nervous energy ten minutes before the doors open. The peculiar satisfaction of realizing, halfway through an opening, that the room is doing exactly what you hoped it would.

Most of that never makes it onto my grid.

So as the art world exhales from Maycember and we count down to summer, I'm finally latergramming my first year in gallery life, one show at a time.

To the artists, colleagues, collectors, curators, and friends cheering from the sidelines—thank you for making this first year one I'll never forget.

@ruttkowski68 @onetouchnilsone @bigsaturn_ @lousyleo @rafaparraroman @kasonchihk @juttakraus @samiafineart @marina.von.morr @studio__gaffe @dzire3000 @benedikt_vonharder taken in Ruttkowski68 by @roseneveling

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4 months ago

One month into my new chapter with @ruttkowski68 and I’m filled with gratitude for the artists, collaborators, and community who make it all so meaningful.

It feels both unexpected and exactly right. My path has taken me from the might of major institutions to the agility of working independently to bring smaller but important ideas to life. Now, I can bridge these experiences to champion artists and ideas on a global stage.

To the artists who entrust me with your work and legacy: it is the greatest privilege to stand behind you. You create the world I want to live in.

To the dealers and gallerists whose fierce advocacy continues to inspire: thank you for setting the bar high and reminding me why this ecosystem matters.

To the Ruttkowski;68 global team: thank you for the warmest welcome. It’s an honor to be part of such a bold creative collective.

Endless gratitude to Nils Müller, whose vision and fearlessness shape this gallery with creative daring and global reach; to Leo Fitzpatrick, for his authenticity, collaborative spirit, and care for artists; and to Tommy Comings, the thoughtful soul who keeps everything humming.

And to the many mentors and friends who’ve guided, challenged, and championed me along the way: your support has meant the world.

There’s a line by Rumi that rings especially true right now: “What you seek is seeking you.” I’m grateful that my journey has led me here, to Cortlandt Alley. taken in Ruttkowski68 by @roseneveling

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