References

House: 5 February 2011, 10:30am 2011 Watercolor and graphite on Fabriano paper 4 x 6"

Reviews and References:

Origins Podcast, Author Peter Turchi interviewed by Ryan Mcgranaghan, 4 May 2021
Maps of the creative process and designs for life, artist Charles Ritchie mentioned at 45:30

Art Brussels Week, Jason Haam
Brussels, Belgium, 1-14 June 2020

The New York Satellite Print Fair, Center Street Studio
New York, NY, 14 May - 14 June 2021

Artist in the Studio Feature on Instagram: Charles Ritchie @JasonHaam
Entries focused on the artist at work, presented April 2021

James Stroud discusses Center Street Studio, Virtual Gallery Talk via Zoom, 22 February 2021
Featuring works in the exhibition, 40 Years of Printmaking: From the Center Street Studio Archives, University of Richmond Museums, Richmond, VA

Artists in the Collection: Charles Ritchie, William Louis-Dreyfus Foundation, 4 February 2021
Feature with links to WLD collection web resources and online presentation by the artist

40 Years of Printmaking: From the Center Street Studio Archives, 19 January 2020 - 26 March 2021
Virtual reality tour of the group exhibition, University of Richmond, Richmond, VA

West Coast Print Fair, Center Street Studio
Online fair featuring prints by Center Street Studio artists, 22 January - 8 February 2021

40 Years of Printmaking: From the Center Street Studio Archives, Group Exhibition
University of Richmond, Richmond, VA, 19 January 2020 - 26 March 2021

Conversation with Charlie Ritchie: Painting the Night, 14 December 2020
Artist-in-studio presentation recorded via Zoom sponsored by The Washington Print Club, Washington DC

Daegu Art Fair 2020, Jason Haam
Daegu, South Korea, 13 - 15 November 2020

BravinLee programs, New York, NY, Artist Book Program, October - November 2020
On view in the vitrine: Ali Shrago-Spechler, Charles Ritchie, William Steig, Douglas Florian, Jason Polan, Amy Wilson, Chris McCaw, Erik Olson, Jonathan Lasker. In conjunction with the exhibition Archie Rand: The Motets (After Eugenio Montale) + Archie Rand / David Shapiro: Collaborations.

Art Busan & Design, Jason Haam
Busan, South Korea, 5 - 8 November 2020

Center Street Studio: Recent Projects, 2014-2020
Catalogue of Print Publications from Center Street Studio, Milton, MA

The New York Satellite Print Fair, Center Street Studio
New York, NY, 16 October - 8 November 2020

Art Kiaf Seoul, Jason Haam
Seoul, South Korea, 23 September - 18 October 2020

Artist Features: Charles Ritchie @Jason Haam on Instagram
New entries focused on the artist's work uploaded Tuesdays and Thursdays throughout August 2020

28 Years Rambling through the Landscape, 20 July 2020
The Ballinglen Museum of Contemporary Art, at Ballinglen Arts Foundation, Inaugural Exhibition

Charles Ritchie, Ars Libri 7, Boston, MA
Steven Andrew Holmes, artist and curator discusses the exhibition of drawings from the Cartin Collection which was on view 3 April - 31 May 2009

Inspired by Duke Ellington, the Seven Tones Project brings quarantined musicians and filmmakers together, 27 May 2020
Michael J. West, The Washington Post

60 Seconds with Charles Ritchie, The Columbus Museum, Columbus, GA, 17 April 2020
Online discussion of the drawing, Self-Portrait with Mirror and Drawings, from the museum collection

Charles Ritchie at Center Street Studio, Milton, MA, 23 April 2020
Facebook post featuring a survey of selected intaglio prints made in collaboration with James Stroud from 1994 to present

Charles Ritchie: Traveling the World from ‘Home’, 1 April 2020
Kim Hae-ri, Art in Culture, Seoul, South Korea

Charles Ritchie's Scenery with a Story, 31 March 2020
Kim Young-jae, Culture, GQ Korea

In a Sentimental Mood by Duke Ellington, A film by Paul Glenshaw featuring the bass of John Previti and art of Charles Ritchie, 3 April 2020
A short film for the Seven Tones Project, a collaborative initiative pairing musicians and filmmakers to create short films inspired by the music of Duke Ellington

Charles Ritchie: Welcome to Suburbia, Jason Haam, Seoul, South Korea, 16 March 2020
Virtual reality tour of the exhibition and related resources courtesy Eazel.

Charles Ritchie: Welcome to Suburbia, 12 March 2020
Kim Chang-man, Asia Arts

Charles Ritchie at Jason Haam, Seoul, South Korea, 12 March 2020
Website resources

Spotlight: Charles Ritchie, Gallery Joe, Philadelphia, PA, 7 February 2020
Record of the exhibition

Ornament: Ho Hum All Ye Faithful, Part 3, BravinLee programs, New York, 12 December 2019
Online record of the exhibition

The Artist's Sketchbook: A Personal View, Sunday Lecture Series, National Gallery of Art, Washington, DC, 27 October 2019

Watching Thinking, Works in Progress Lecture Series, National Gallery of Art, Washington, DC, 25 February 2019

Zevitas, Steven, New American Paintings #136, South Edition, The Open Studios Press, Boston, MA, pp 118-121, June/July 2018

Online Catalogue of the William Louis-Dreyfus Foundation Collection
Charles Ritchie

Charles Ritchie: 16 Pages, BravinLee programs, New York, 7 September 2017
Online record of works in the exhibition

Interview with Charles Ritchie, 16 June 2016
Larry Groff, Painting Perceptions

Introspective, Group Exhibition at BravinLee programs, New York, 2 February to 19 March 2016
Online record of this exhibition of self-portraits by fifty-seven artists.

Speaking in Shadows by Reed Turchi, 29 January 2016
Music CD with album art and design by Charles Ritchie

Capital Gazette, Annapolis, MD, 25 January 2015
A Lineage of American Perceptual Painters, Exhibition Review

A Muse and A Maze: Writing as Puzzle, Mystery and Magic by Peter Turchi, 25 January 2015
Joanna Scutts, Washington Post Book Reviews

Less-Crowded Sattelite Fairs Reveal Labors of Love, 5 December 2014
Jan Sjostrom, Palm Beach Daily News

A Muse and A Maze: The Mysteries of Fiction Writing, 23 November 2014
Author Peter Turchi discusses his book and touches on the art of Charles Ritchie on North Carolina Public Radio, WUNC

Discovering a Symphony in Silence, 20 November 2014
Hope McKeever, The Houghton Star

Center Street Studio: 30 Years of Print Publishing, September 2014
James Stroud, Catalogue of prints by Center Street Studio artists

Charles Ritchie, Spring/Summer 2014
John E. Rice and Katherine Nonemaker, Open Lab Magazine 10

Ritchie's Watercolor Time Machines, 5 September 2013
Amanda Wynter, The Georgetown Voice

Charles Ritchie: Reflections, Spring 2013
John A. Parks, Drawing, Volume 10, Issue 37

Charles Ritchie: Journals to Drawings to Prints, Lecture: The Model, Sligo, Ireland
https://www.youtube.com/watch?v=ebDQYzzQMoM

Charles Ritchie, BravinLee programs, January 2013
Sylvia Hochfield, Artnews

All Over the Map: The Best of 2012, 25 December 2012
John Haber, Haber's Art Reviews, www.haberarts.com

Downsizing, 9 December 2012
Edith Newhall, The Philadelphia Inquirer

Small is far from limited: small scale: expansive visions at Gallery Joe, 3 December 2012
Sabina Tichindeleanu, Artgrind, www.artgrind.wordpress.com

The Feverish Library and Charles Ritchie, 15 November 2012
John Haber, Haber's Art Reviews, www.haberarts.com

Small Scale: Expansive Visions, Opening Saturday 17 November 2012, 29 October 2012
Press Release / Show Announcement / Gallery Joe

Innovative drawings at UB Art Gallery, 18 October 2012
Jack Foran, Artvoice

Charles Ritchie, Drawings and Journals, Opening Friday October 19th, 12 October 2012
Press Release / Show Announcement, BravinLee Programs

UB exhibition samples new take on drawing, 12 October 2012
Colin Dabowski, The Buffalo News

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UB exhibition samples new take on drawing

By Colin Dabowski, The Buffalo News, Oct 12, 2012

The act of drawing is perhaps the simplest and oldest form of creative expression. To scrawl some line or shape – on a cave wall or a spiral notebook – is step one in the process of becoming an artist. For that reason, it has in the past been treated as a kind of warm-up for the real thing, that "real thing" being painting or sculpture. But thankfully for aspiring artists the world over who are now just beginning to learn their way around a pencil, those old notions about where drawing ranks in the grand scheme of the fine arts have broken down.

The enveloping Sol LeWitt scribble drawing in the Albright-Knox Art Gallery, to pick one of countless examples, is all the evidence we need that drawing as a medium has gained a place at the table in our hallowed institutions.

"Falling Through Space Drawn by the Line," an excellent exhibition in the University at Buffalo Art Gallery curated by Sandra Firmin and Joan Linder, showcases more than a dozen distinct approaches to drawing by contemporary artists. If anything, the range of styles included demonstrates that "drawing," as a category that signifies anything important, is becoming as meaningless and generic as "new media."

Visitors to the gallery are greeted with George Boorujy's gargantuan, photo-realistic ink-on-paper drawing of a buffalo called "Bellow Black Diamond." It stares you in the face, confrontationally, set against a pure white background devoid of any of the natural surroundings in which you might expect to find such a creature. The effect is jarring and a tad unsettling.

Nearby, a similarly enormous frame holds Marsha Cottrell's 2012 "Under the Illuminating Hydrogen," made up of many sheets of mulberry paper manipulated digitally and by hand to produce what looks like a combination of a star-map, a CAD drawing and a long-exposure photograph.

Deborah Zlotsky's series of gauzy graphite-on-mylar drawings are exercises in improvisation unlike anything I've seen before. She has created strange, biomorphic forms by moving graphite powder across sheets of paper by blowing, smudging or painting it. The resulting images, like Megan Greene's dark drawings at Hallwalls in 2008, are disconcerting in part because they configure human anatomy in unexpected ways.

The Lightwell Gallery hosts the beautiful, brainlike automatic drawings of Tony Orrico, who appeared at the gallery last week to do a drawing performance that one observer said made him look like a "human spirograph." Elsewhere, the remarkable ballpoint pen portraits of Toyin Odutola prompt us to think about race in new ways and Charmaine Wheatley's mad series of scrapbooklike drawings chart a strange journey of discovery. Charles Ritchie's mysterious light studies of his suburban home are soft and poetic, while Saul Chernick's series of fantastical drawings based on medieval and Renaissance woodcuts are quite the opposite.

The one big miss in the show is an entire room given over to a dead-end conceptual exercise by Molly Springfield, in which visitors are invited to contribute to her ever-evolving "Marginalia Archive." Springfield is collecting and archiving people's notes in the margins in books and other texts in an attempt, she wrote, to ask questions about "the materiality of language and contemporary digital culture." This might work as an academic research project, but as art, it falls flat on its face.

On the whole, though, "Falling Through Space" is a worthwhile look at how artists are pushing the medium and the definition of drawing to new places.

***

"Falling Through Space Drawn by the Line"

When: Through Dec. 8

Where: University at Buffalo Art Gallery, Center for the Arts, UB North Campus, Amherst

Admission: Free

Info: 645-6913,? www.ubartgalleries.org

Watercolors, Phillips de Pury & Co., 1 October 2012
Announcement and Press release for the exhibition

Golden Series: Strawberries, Blueberries, and Two Figs / Charles Ritchie, 14 August 2012
Abbey Ryan, ryanstudio.blogspot.com

The Art Out There: Charles Ritchie, 23 July 2012
David Carmack Lewis, artouthere.blogspot.com

New American Paintings 100, South Edition, 10 June 2012
Steven Zevitas, The Open Studios Press

Meet Charles Ritchie, Cortona '76, 29 April 2012
Del Martin, Cortona Italy Alumni Organization Newsletter, Athens, GA

Dust and Shade: Drawings by Charles Ritchie, Cornell Fine Arts Museum, 12 March 2012
Gallery Guide, Southeast Edition, Cover and Feature Article, artinfo.com

Charles Ritchie: Where Dreams and Reality Collide, 27 January 2012
Michael Schwartz, The Arcadia University Bulletin

Dust and Shade: Drawings by Charles Ritchie, 28 January 2012
Rollins College, Orlando, FL, Exhibition Brochure

Dust and Shade: Drawings by Charles Ritchie, 27 October 2011
Portia Iversen, Escape into Life

Charles Ritchie: Dust and Shade exhibition at Gallery Joe, 17 October 2011
A video walk-through of the exhibition

Charles Ritchie, BravinLee programs website
Record of Exhibitions at BravinLee programs

New Art - Old City, 13 October 2011
Marilyn MacGregor, artsmarttalk.com

Into the Light, 2 October 2011
Edith Newhall, The Philadelphia Inquirer

Night, Truck, Two Lights Burning, 1 October 2011
Limited Edition Book, Collaboration with Author Peter Turchi

Dust and Shade: Drawings by Charles Ritchie, 30 October 2011
Portia Iversen, Escape Into Life

American Contemporary Art, September 2011
Charles Ritchie, Philadelphia, Gallery Joe, page 47

Charles Ritchie: Dust and Shade, 24 September 2011
Exhibition Announcement with Artist's Statement and Press Release

The Fifth Genre: Considering the Contemporary Still Life, Galerie Lelong, New York, 25 June 2010
Online record of the exhibition

Big Bang, Small Bang at Gallery Joe, 26 February 2010
Libby Rosof, The Art Blog

Head north and follow the signs of contemporary times, 22 November 2009
Blake Gopnik, The Washington Post

Charles Ritchie: Books and Pages, 23 October 2009
Exhibition Catalogue and Checklist

New American Paintings 81, 15 April 2009
Editor's Pick: Charles Ritchie

Press Release, Charles Ritchie, 6 April 2009
Cartin Collection @ Ars Libri, Boston, MA

HOME Exhibition Catalogue, 5 April 2009
Westport Arts Center, Westport, CT

Charles Ritchie's Shadow World at Gallery Joe, 7 December 2008
Roberta Fallon, Artblog

Philadelphia Inquirer, 9 November 2008
Through His Window, A Distinctive View

Philadelphia City Paper, 4 November 2008
First Friday Focus: Arts, Charles Ritchie at Gallery Joe

From the Inside Looking Out: The Journals, Drawings and Prints of Charles Ritchie
Exhibition Catalogue

PeterTurchi.com web site launch, 12 August 2007
Author Turchi discusses his collaboration with the artist

The New York Times, 1 June 2007
Holland Cotter on Ahuja and Ritchie at BravinLee programs

The Washington Print Club Quarterly, Spring 2007
Franz and Virginia Bader Fund Artists

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Franz and Virginia Bader Fund Nurtures Mid-Career Artists
          

            
Franz Bader, the legendary Washington art dealer and bookstore owner, nurtured local artists during his lifetime, and he continues to do so long after his death.

             The Franz and Virginia Bader Fund, established in 2001 in accordance with the will of Bader's widow, Virginia, awards grants to visual artists who are at least 40 years old and live within 150 miles of Washington, D.C. Since 2002, the Bader Fund has distributed $245,000 to 13 grantees. Two to three awards of between $15,000 and $25,000 are given each year. They can be used for any pur­pose, such as time off from a job, travel, working in other media, or remodeling a studio. The most recent grants, announced in December 2006, went to three artists, including, for the first time, two photographers. The recip­ients are photographers Frank Hallam Day, Washington, D.C., and Joe Mills, Annandale, Virginia, and Philip Geiger, Charlottesville, Virginia, a painter.

            The first exhibition of Bader Fund recipients' work was held November 8, 2006-January 26, 2007, at George Washington University's Luther W Brady Art Gallery. One hopes it will become an annual event! Michael O'Sullivan's glowing January 12, 2007, review in The Washington Post brought visitors to the show. Before then, O'Sullivan reported, the Bader prize winners, "seem habitually to have received less publicity than, say, that of the winners of the Trawick Prize or the Bethesda Painting Awards, both of which feature annual showcases devoted to the competi­tions' finalists."

             "The Franz and Virginia Bader Fund: Artists of the First Three Years" was organized by GWU University Art Galleries director Lenore Miller and Johanna Halford­ MacLeod, the Bader Fund's executive director. It featured oil paintings, works on paper, and sculptures by seven artists who received grants in 2002-2004. Among them were Kevin MacDonald of Silver Spring, Maryland, the late printmaker and painter to whom the show was dedi­cated, and Charles Ritchie, also of Silver Spring, whose specialty is drawings and prints. Also in the show were works by sculptor Yuriko Yamaguchi of Vienna, Virginia, and paintings by Steven Kenny of Washington, Virginia, and by Scott Noel, Alex Kanevsky, and Susan Moore, all of Philadelphia.

             O'Sullivan found that MacDonald's two prints and one painting were "inspired by the architecture and angst of suburbia" and "seem to throb with an otherworldly power." They have, he wrote: a pull that is, I think, universal in these meditations on memory, longing, and loss. A similar pull can be felt in Ritchie's works, especially in the two small drawings identified as-but not immediately obvious as-self­portraits. Gradually, it becomes apparent that the images are reflections in windows ... Like MacDonald's work, the built environments around us seem meant to be read as stand-ins for our own theatrically shadowed psyches.

             Ritchie has been with the National Gallery of Art, where he is currently Associate Curator of Modern Prints, for 27 years. He used his Bader grant to take time off so he could concentrate on a series of nocturnal self-portrait drawings and a mezzotint with soapground aquatint. He also filled nearly two handmade books with writing and color images. "I work fairly slowly and usually complete six to seven drawings a year," he said, "The Bader Fund grant gave me time to prepare for a show last year at Gallery Joe in Phil­adelphia that sold out. I credit the Bader Fund with giving me time and getting me straight into a really good gallery."

 The Selection Process

             Bader Fund recipients are chosen by a committee of nine, all friends of Franz and Virginia Bader. They meet in a hotel for two days, reviewing slides and CDs of submitted works, Lenore Miller said.

             There were 200 applicants for the three grants made in 2006. While great effort is made to solicit applications, Bader Fund director Halford-MacLeod worries that artists who are not represented by galleries or connected to art schools may not know about the Fund.

             Visual artists working in virtually every medium except film, video, and performance art are urged to apply. To date, painters predominate among the recipients, but printmakers, photographers, and sculptors are also represented. Bader was an accomplished photogra­pher and sold ceramic works as well as photo­graphs, prints, paintings, and sculpture in his gallery. The Fund wants its grantees to reflect his diverse interests, and Halford-MacLeod said, "We would love to hear from potters and other craftspeople."

             Since most of the Bader grantees applied more than once, Halford-MacLeod's advice to applicants is: "If at first you don't succeed, try again." In addition, artists known in one medium can apply for a grant in another. For example, Richard Weaver, a painter whose work has been exhibited at the Smithsonian American Art Museum, applied for-and won-a grant as a sculptor. "He submitted fabulous terracotta relief sculptures," Halford­MacLeod said, "We all loved them because they were so fresh and different from what people are making that finds itself in galleries."

Franz Bader's Legacy

             Franz Bader (1903-1994) was born in Austria, the son of a flour merchant and a painter. By the mid-30s, he owned the oldest bookstore in Vienna; however, after Germany annexed Austria in 1938, Bader, like other Jews, lost his business. With the sponsorship, through a mutual friend, of James Whyte, Bader and his first wife Tony managed to get visas to the U.S. in 1939. When they came to Washington, Bader worked in Whyte's well-known book­store, which sold modern art as well as foreign-language books and maps, until he opened his own art gallery and bookshop at 1705 G Street, N.W in 1953.

            Many well-known artists, including American print­maker Peter Milton (1930- ), exhibited at the gallery. Bader was also always interested in late-bloomers: he was the first Washington gallery to exhibit Grandma Moses, and the first commercial gallery to exhibit African­American artist Alma Thomas.

             Local artists who exhibited there included WPC artist-­member Barbara Kerne, the NGAs Mark Leithauser, and WPC board member Joan Root. "He nurtured artists and it is wonderful that his nurturing continues after his death," Root said. Bader not only exhibited her work, he also made a great effort to keep her in his circle. When Root decided to leave Washington for New York City, he offered her a small monthly advance so that she could con­centrate on her art. In return, she sent him some of her artwork and he would deduct her advances from the pieces he sold. The arrangement benefited both of them. The advances gave her the freedom to work on her art, and she sent him her best work, rather than sending it to a New York gallery. Root stayed in New York for 11 years and received Bader's advances for the first three years. She never knew if Bader made similar arrangements with other artists, but she suspects that he did. "He had faith in me," she said, "It made me more focused and very serious about my work." Root also reported that Bader had significantly helped her career: a series of lithographs that she produced sold well at his gallery and his encouragement led her to other important professional affiliations.

             "Franz brought printmaking as well as works by a wide range of artists to Washington, and he supported both in the sense that he showcased them in a city that then offered little of either," she said.

             Bader wanted that support to last. "As Franz grew older, he felt the need to have something continue ... after him, and that was his vision of the aesthetic riches that could be found in the places that too few people looked. It was for this reason that he and Virginia decided to establish a fund to help older artists ... bring their gifts to the world," Richard Conroy writes in a warm and appreciative memoir of Franz and Virginia Bader published on the Bader Fund website.

Joan Pinkerton Filson

The Washington Print Club Quarterly, Spring 2007, pp 4-6, Volume 43, No. 1

 

The Washington Post, 12 January 2007
Group exhibition at George Washington University, Washington, DC

Mountain Xpress, 6 September 2006
Solo exhibition at Warren Wilson College, Asheville, NC

Philadelphia Inquirer, 10 March 2006
Solo Exhibition at Gallery Joe, Philadelphia, PA

Suites and Pages, Gallery Joe, 11 February - 25 March 2006
Exhibition Announcement, Press Release, List of Works

Philadelphia Inquirer, 18 November 2005
Review of water colors exhibition at Gallery Joe

University of Georgia Columns, 11 July 2005
Suburban Journals exhibition review

The Baltimore Sun, 3 March 2005
Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, Exhibition Review

Baltimore Magazine, March 2005
Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, Exhibition Review

Baltimore City Paper, 9 February 2005
Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, Exhibition Review

Baltimore City Paper, 2 February 2005
Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, Exhibition Review

The Boston Globe, 24 October 2004
More Than One: Prints and Portfolios From the Center Street Studio, Exhibition Review

Richmond Style Weekly, 7 April 2004
Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, Exhibition Review

Philadelphia City Paper, 17 July 2003
Summer Invitational, Gross McLeaf Gallery, Artpicks

Philadelphia Weekly, 19 February 2003
Review of Value and Presence Exhibition, Swarthmore College

Art on Paper, September - October 2002
Working Proof, Review of print Blue Twilight

Night, Truck, Two Lights Burning, a short story by Peter Turchi
Inspired by the drawings of the artist, it was listed as one of 100 Notable Stories of 2002 by the editors of Best American Short Stories

The Washington Times, 8 December 2001
Lichtenstein and Beyond: Recent Acquisitions of Modern Prints at the Corcoran, Exhibition Review

Art on Paper, March - April 1999
Working Proof, Review of prints Two Houses: Day and Two Houses: Night

On Paper, September - October 1996
Working Proof, Review of print Daffodils with Astronomical Chart

The Print Collector's Newsletter, March - April 1996
Prints Published, Review of print Rocking Chair

Cheekwood National Contemporary Painting Competition, Juried by Robert Ryman, 16 October - 30 December 1995
Review in The Tennessean with related materials

The Virginian-Pilot and The Ledger Star, Norfolk, VA, 16 October 1994
Peninsula Fine Arts Center, Exhibition Review

City Magazine, Norfolk, VA, 15 July 1994
The 32nd Irene Leache Memorial Biennial, The Chrysler Museum, Norfolk, VA, Exhibition Review

The Virginian-Pilot and The Ledger Star, 3 July 1994
The 32nd Irene Leache Memorial Biennial, The Chrysler Museum, Norfolk, VA, Exhibition Review

First Street Gallery, Group Exhibition Juried by Wayne Thiebaud, 28 June 1994
Exhibition announcement and image of work included in the show

Richmond Times-Dispatch, 2 February 1993
Review of The Interior Landscape exhibition, Marsh Art Gallery, University of Richmond, Richmond, VA

Richmond Style Weekly, January 1993
Charles Ritchie: The Interior Landscape, Exhibition Review