Two award winning San Diego artists (both Artists Guild members) have teamed up to present “SCAPES: Landscapes, Urbanscapes, Mindscapes”, an exhibit of fine art at Gallery 21 in Spanish Village, Balboa Park. Julianne Ricksecker, painter and printmaker, and Jeffrey R Brosbe, photographer, invite the public to join them for an opening reception on Sunday, August 12 from 5 - 7 PM. The Gallery will be open daily from August 7 through August 27, 11 AM - 4 PM or by appointment.
Jeffrey R. Brosbe has an eclectic eye. His images, archival fine art photographic prints offered in extremely limited editions, represent things, “…that move me emotionally, intellectually, or, best of all, in both ways.” His earliest saved negative was created in 1952. His first solo exhibition was in 1995 and his last international honor was inclusion in the 51st International Exhibition at the San Diego Art Institute – Museum of the Living
Artist. His website is www.jeffreyrbrosbe.com.
Julianne B Ricksecker, an internationally award-winning artist, has exhibited regularly in San Diego for nearly 40 years. She presents realistic landscape imagery in pastel, monotype, intaglio printmaking (etching and collagraph), and watercolor. “Inspired and delighted by the beauty of landscape, I try to express the awe and wonder I feel through a variety of media. I am fascinated with the effects of light on the colors and textures of the landscape, and with the rhythms and patterns of the shapes I see. I hope to evoke in the viewer some of the pleasure, peace and joy I feel when I experience these natural wonders.” Her most recent international honor was the Public Prize at the René Carcan International Prize for Printmaking in Brussels, Belgium. Her website is www.artbyjulianne.com.
More about Jeffrey R. Brosbe
Jeffrey R. Brosbe has won numerous awards and is represented in distinguished collections internationally. He does archival photographic prints in extremely limited editions as well as unique Polaroid manipulations.
His work has been selected for exhibition in the Melbourne Fringe Festival; international juried exhibitions; national juried exhibitions in museums, colleges, and universities; and juried exhibitions throughout San Diego County, winning special recognition and awards in almost all of them.
After decades refining his skills, he began sharing his work publicly in the early 1990’s. He founded Beyond Words Fine Art Photography in 1994. In 1997 he was chosen by the City of Carlsbad (California) Arts Commission as one of the first to do a major installation. His most recent honors include being selected by Black and White magazine for the 2017 Single Image Awards issue and given the special recognition award by the Photo Arts Group for work submitted to the International Exhibition of Photography at the Del Mar (California) in 2016.
While the essence of his work is about light and shadow, he has an eclectic eye with a distinct bend to photojournalism and street photography.
He says: Visually, my work is built around shape, light, and shadow. The essence of my images however are moments in time which, in their contemplation, communicate my personal response to the world which is sometimes a wry, ironic smile; at others awestruck; and sometimes in a realm between these poles. The creation of an image is the same as the creation of a Haiku: It should be whole and meaningful in itself while providing greater insight when pondered further.
His online portfolio is located at www.jeffreyrbrosbe.com.
More about Julianne B Ricksecker
Ricksecker is well known for her work in various techniques of original printmaking. She works most frequently in á la poupée color etching, a relatively rare practice among artists today. Julianne’s color etching process renders sumptuous color with unusual depth and richness for metal plate printmaking.
Another favorite technique is monotype, or one of a kind prints. She has developed a monotype technique, using water-soluble oil-based paint on plexiglass to render intriguing one-of-a-kind “painterly prints”, transferred to paper on the etching press or by rubbing the back of the paper with a wooden spoon.
Ricksecker loves landscape. She finds inspiration in our national parks such as Zion, Yosemite, and Glacier and in local California scenes of Big Sur, the Cuyamacas, Torrey Pines, and the Anza Borrego Desert. Her medium changes depending on the particular inspiration and her work ranges in size from miniature prints at 2” x 2” to full size watercolor at 22” x 30”. While she occasionally paints “en plein air”, she is more likely to bring home inspiration in the form of hundreds of photographs taken on hikes and during road trips. At home in the studio, she uses these images to create her works of art.
Born and raised in Pittsburgh, Pennsylvania, Ms Ricksecker has lived in Albuquerque, New Mexico, Newport, Rhode Island, Rouen, France and Yokosuka, Japan before settling in San Diego. She has exhibited in local, national and international exhibitions. She has won numerous awards, including 2nd place award at the 8th Biennial International Miniature Print Exhibition at the Center for Contemporary Printmaking in Norwalk Connecticut. In 2018, her work appears in the 9th INTERNATIONAL PRINTMAKING BIENNIAL - DOURO 2018 in Douro, Portugal, the 38th MINI PRINT INTERNATIONAL OF CADAQUÉS 2018 in Spain, and René Carcan International Prize for Printmaking exhibition in Brussels, Belgium, as well as numerous group exhibitions in San Diego, CA. She exhibits at the Del Mar Art Center Gallery and SmartSpace Galleries in San Diego and Vista.
Carol Mansfield and Sue Zinngrabe Gold have work in the current show "GLOW" at the Nainsook Gallery, 8130 La Mesa Blvd., La Mesa, CA 91942
"GLOW" runs through April 28, 2018.
For a look at what the show contains, here is a link http://nainsookframing.com/art-shows/spring-2018-artists-show-glow/
Vote and share !
The works of the 30 printmakers who have been selected as finalists in the Rene Carcan International Grand Prix will be submitted to the International Jury in January 2018.
The works of the artists who have successfully passed the selection process will be put to the vote of the website users. The artist whose works receive the most votes will receive the René Carcan Public Prize, which is an honorific prize.
SDMA Artist Guild Artist and Printmaker, Julianne Ricksecker, is a finalist. Her work is available here for public voting. You can vote for one or more images.
Guild members Vi Gassman and Linda Drake, along with Sharon Cutri, will be showing at the Poway Center for the Performing Arts November 3-28, 2017. Artists' Reception: November 17, 5:30-8:00 P.M.
I am thrilled to announce that I have been selected as a finalist for the René Carcan International Prize For Printmaking! This biennial award and exhibition is presented by the Espace René Carcan, whose mission to promote the artistic heritage of the Belgian printmaker and watercolour artist, as well as provide recognition of the art of printmaking in general. You can learn more about René Carcan’s work here.
"Last Light", etching, 8" x 10", ©2014 Julianne B Ricksecker[/caption]
The nominated printmakers will exhibit at the Bibliotheca Wittockiana in Brussels, Belgium, a museum dedicated to book arts, book binding and related disciplines. The show opens February 15th and closes May 15th of 2018.
In another round of jurying, a panel of experts will examine the actual prints to select a printmaker for the René Carcan International Grand Prix. There are also a 1st and 2nd Mention, as well as the René Carcan Public Prize, selected by a public vote. I will let you know when you can look for the public voting process online!
1980 Kettner Blvd, San Diego, CA 92101
Calvin Fong would call me up when the Mayor was having an event and ask me to take the official photographs. I was 13 when the Mayor appointed me to the Youth Commission. And after that appointment Calvin would call me and I photographed the Mayor with the President of Ireland, at events honoring teachers, and ribbon cuttings.
Calvin was a Berkeley native. He was the chief of staff for Mayor Bates for 14 years. He knew everyone and everything about Berkeley. He was kind and encouraging. He got me connected as a young photographer and I will be forever grateful.
Generally artists establish themselves with a style or a theme to their work, but Richard Becker sculpture focuses oncommissions and are anything but similar in style or theme. Becker just completed a bronze sculpture of the television character Homer Simpson, which is now permanently installed in the 20th Century Fox Studios lot in Los Angeles, and “Liberation”, a 15 ft. tall POW Veterans Monument for Miramar US National Cemetery in San Diego, CA. One has to ask oneself how the same artist can producesuch diametrically opposed themes and style.
Richard sums it up by saying, “I enjoy creating all kinds of art – serious, strange, fun. And for the POW Monument, I did feel a very deep sense of obligation to help these veterans convey their story and their service and to honor them. The Simpsons' Homer, while it was goofy, crazy fun and Hollywood, and all that, I too, really felt an obligation to make this tribute special for the creators, crew and fans that have made such an amazing family and impact on culture. “
Los Angeles native Richard Becker found his love of sculpture while living in Spain. He has studied at the Escola d’Art Barcelona, the Los Angeles Art Academy, Vaugel Studios and the Scottsdale Artists’ School. He is an elected member of the San Diego Museum of Art Artists Guild, has received the Edward Fenno-Hoffman Prize for uplifting works, and in 2010 was elected into the National Sculpture Society.
Asked how he came about creating the sculpture for Homer, he said, “Hmm… the Homer thing came from doing the portrait bronze of James L Brooks for the Emmys Hall of Fame.
Jim is an incredibly accomplished writer and director with multiple Oscars, more Emmys than anyone, and he started the Simpsons by hiring Matt Groening. When we were discussing his portrait, I asked about including a little Homer on the high-relief plaque. He liked the idea so I started sculpting a little Homer for the background. Long story short, I decided to do a full size head study of Homer to understand how he translates from flat to 3-dimensional. After the Emmy plaque was complete, I asked if anyone wanted a cast of the Homer head. This led to using it for the Simpsons 500th episode celebration.“
Asked about the POW monument; “Well, one of my artistic goals was to create a work that draws people in to better understand their story, the price paid and the debt owed to these veterans who served doubly — as both soldiers and as POWs. The vets provided me with their stories, photos, books and even movies like “The Great Escape.” Once we settled on the overall concept – depicting the liberation moment — I asked them to write what it felt like to go through that experience.
Was there a particularly difficult part in creating this piece? “I suppose the most difficult thing was emotionally, it was rough as I immersed myself in the research; the stories, the photos, trying to imagine what it would be like to be in that position, it was dark.”
Richard Becker’s work might range from cartoon to monumental, but one must admit he is an incredibly talented and diverse artist. He is primarily focused on commissioned work these days. He does create some smaller works in the studio, and says that someday he will cast a few of these, but right now he is keeping quite booked.
From the earliest age, Julianne Ricksecker was interested in portraying the world visually. Writing assignments in grammar school were always elaborately illustrated. As a young college student, she applied for a semester abroad program in France so that she could visit the Louvre. She remembers the exhilaration of experiencing so many paintings in the original that she had only seen as book or poster reproductions until then.
Although her early inspiration to be an artist was mostly from oil paintings, she has never enjoyed painting in oil! At least not oil on canvas!
Her favorite subject matter is realistic landscape in a variety of media. Some pieces are worked in direct methods, such as watercolor or pastel, but her original prints are indirect, created first on plates, which are then inked and transferred to paper on an etching press. Her creative process involves experiencing a place, hiking and taking photographs and making sketches. Then she returns to the studio to create the work.
When etching plates are inked and wiped, it is a messy business! The tacky oil-based ink ends up all over the back of the plate from handling it with gloved hands and oily rags. After the etching is printed and the plate removed from the press bed, sometimes there is ink left on the surface of the bed. This accidental transfer of ink sometimes suggests an image, and it can be manipulated with rags and brushes, even additions of more ink, and then printed onto paper, creating a one-of-a-kind print known as a monotype.
After playing with this accidental residue of ink to create spontaneous monotypes a few times, Julianne began to explore the possibilities of monotype for it’s own sake, using a blank plexiglass plate and a planned approach. Initially she used oil paint to create these images, but found the transparent colors she desired required too much oil and thinner to be viable for printing on paper. About this time, oil paint appeared in art stores in a water-soluble form. The paper is normally damp when passing through etching press, so the new oils seemed like a perfect solution for monotype.
With a little experimentation, Julianne found this new paint to be a very satisfying and versatile medium for her landscape work. Because the ink is water soluble, it can be thinned with water for very transparent washes. This seemed ideally matched to her fascination with imagery of water and waterfalls.
There are many ways that artists approach monotype printmaking, sometimes called “painterly printmakng”. Think about Degas’ ballerinas (monotype, sometimes with the addition of pastel) or Henri Matisse’s white lines on a rich black field, or Georges Rouault’s loose, fluid brushwork as in “Clown with Monkey”. Julianne’s approach is to use a full palette to develop a realistic landscape. Through the use of additive mediums, she can emphasize the brush stoke or minimize it to create soft passages of color. She may use rollers to apply a solid field of color, or rubber tipped sticks or very fine brushes to remove color. She may also press paper towels or bits of lace into the paint to remove color in a textured pattern.
The resulting images truly live up to the name “painterly print”.
Julianne’s original prints and paintings have been exhibited in Regional, National and International competitions. She was awarded 2nd Place for her miniature prints in the 8th Biennial International Miniature Print Competition at the Center for Contemporary Printmaking in Connecticut in 2011. Her work is regularly on exhibit in the greater San Diego area. She has been invited to present her work in solo exhibition in Phoenix, Arizona from September 7 to November 12, 2012 at the University Club of Phoenix.
Address:Mailing Address:P.O. Box 122107San Diego, CA 92112-2107