Charles Ritchie


Streetlight and Porchlight, 2008
watercolor and graphite on Fabriano paper

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Biography

Charles Ritchie
Born 21 November 1954, Pineville, Kentucky

Education:
1980 Carnegie-Mellon University, Pittsburgh, PA, MFA Painting
1977 University of Georgia, Athens, GA, BFA Graphic Design

Solo Exhibitions:
2012
Charles Ritchie, BravinLee programs, New York, NY (Fall, 2012)

2011
Dust and Shade, Drawings by Charles Ritchie, Gallery Joe, Philadelphia, PA, traveling to the Cornell Fine Arts Museum, Rollins College, Winter Park, FL

2009
Charles Ritchie: Books and Pages, 2004-2009, BravinLee programs, New York, NY
Charles Ritchie, The Cartin Collection @ Ars Libri, Boston, MA

2008
From the Inside Looking Out: The Journals, Drawings and Prints of Charles Ritchie, Gregg Musuem of Art & Design, North Carolina State University, Raleigh, NC, traveling to Gallery Joe, Philadelphia, PA

2007
Charles Ritchie: Drawings and Journals, BravinLee programs, New York, NY

2006
Charles Ritchie and Joianne Bittle: Bioluminescence, Akus Gallery, East Connecticut State University, Willimantic, CT
Charles Ritchie: Works on Paper, Warren Wilson College, Asheville, NC
Charles Ritchie: Suites and Pages, Gallery Joe, Philadelphia, PA

2004-5
Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, University of Richmond, Richmond, VA and traveling to the Albin O. Kuhn Library and Gallery, University of Maryland, Baltimore County, MD and the Georgia Museum of Art, Athens, GA

2000
Charles Ritchie: 21 Twilights and Nocturnes, Spheris Gallery, New York, NY

1998
Prints and Drawings by Charles Ritchie, Mary Baldwin College, Staunton, VA

Charles Ritchie: Recent Work, Numark Gallery, Washington, DC

1996
Charles Ritchie: Works on Paper 1983-1996, The Butler Institute of American Art, Youngstown, OH

1993-95
Charles Ritchie: The Interior Landscape, Marsh Art Gallery, University of Richmond. Traveling exhibition coorganized by the Virginia Museum of Fine Arts, Richmond, VA

1980
Charles Ritchie, Hewlett Gallery, Carnegie Mellon University, Pittsburgh, PA
Selected Group Exhibitions:

2011

Idea to Image: Process, States and Proofs from the Print Collection, Joel and Lila Harnett Musuem of Art, University of Richmond, VA
Summer Show, Gallery Joe, Philadelphia, PA

2010
New at the Harnett, University of Richmond Museums, Richmond, VA
The Fifth Genre: Considering 21st Century Still Life, Galerie Lelong, New York, NY
The 185th Annual: An Invitational Exhibition of Contemporary American Art, National Academy of Design, New York, NY
Surface Tension: Pattern, Texture, and Rhythm in Art from the Collection, University of Richmond Museums, Richmond, VA
Prints by Gallery Artists, Gallery Joe, Philadelphia, PA

2009
50 Very Small Drawings, Gallery Joe, Philadelphia, PA
Preparations: Artists' Sketchbooks and Journals, The College at Brockport: State University of New York and traveling to University of Tennessee, Knoxville (forthcoming)
Drawings and Prints, Big Town Gallery, Rochester, VT
Home, Westport Arts Center, Westport, CT

2008
Print Exhibition of the Sciascia Prize, traveling to the following Italian cities, Catania, Formello (Rome), Fabriano (Ancona), Florence, Venice, and Milan between November 2008 and February 2010.
Recent Prints from Center Street Studio, Galerie Mourlot, New York, NY
Revealing the Light: Mezzotint Engravings at Georgetown University, Fairchild Gallery, Washington, DC
Publishing Prints: Selections from the Center Street Studio Archives, Harnett Museum of Art, University of Richmond, VA

2007
Ornament: Ho Hum All Ye Faithful: Ornament, BravinLee Programs, New York, NY
Made in America: Washington Print Club 19th Biennial, Katzen Arts Center, American University, Washington, DC
New England Impressions: The Master Printers, Concord Art Association, Concord, MA
Landscape: A View from Maryland, in celebration of 25th Anniversary of Maryland's Sister State Program with Kanagawa, Earth Plaza, Yokohama, Japan, Lowe House of Delegates Building, Annapolis, MD and traveling to Maryland State Arts Council, Backas Gallery, Baltimore, MD and The University of Maryland, University College, Adelphi, MD

2006
The Franz and Virginia Bader Fund: Artists of the First Three Years, Luther W. Brady Art Gallery, George Washington University, Washington, DC
Lasting Impressions: Celebrating the Fifth Anniversary of the Joel and Lila Harnett Print Study Center, University of Richmond Museums, Richmond, VA
Gifts to the Permanent Collection: The Woolsey Collection, Department of Art and Design, Texas State University, San Marcos, TX
Subject: Contemporary Portraiture, The Cartin Collection, New London, CT
Natural Selection: Landscape Print Portfolio, Joel and Lila Harnett Museum of Art, University of Richmond, VA

2005
Art Noir, Maryland Hall for the Creative Arts, Annapolis, MD
Water color: Current Views, Gallery Joe, Philadelphia, PA
Corcoran 2005 Print Portfolio: Drawn to Representation, Corcoran Gallery of Art, Washington, DC
Society of American Graphic Artists 90th Anniversary Exhibition, Art Students League, New York, NY
Intimate Treasures, Washington Print Club 18th Biennial Exhibition, Luther W. Brady Art Gallery of George Washington University, Washington, DC
Drawing with Light and Graphite, James Backas Gallery, Maryland State Arts Council, Baltimore MD
State of the Art, Arlington Arts Center, Arlington, VA

2004
Small Treasures, Robert Brown Gallery, Washington, DC
20 Years of Prints for the Washington Print Club's 40th Anniversary, Lauinger Library, Georgetown University, Washington, DC

2003
Summer Exhibition, Gross McCleaf Gallery, Philadelphia, PA
Value and Presence: Works on Paper, Swarthmore College, Swarthmore, PA

2002
Works on Paper: Gallery Artists, Pepper Gallery, Boston, MA

2001
Lichtenstein and Beyond: Recent Acquisitions of Modern Prints, Corcoran Gallery of Art, Washington, DC
Saints and Sinners: A Portfolio, in Honor of the University of Georgia Studies Abroad Program in Cortona, Italy, Corcoran Gallery of Art, Washington, DC
65th Annual Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH
75th Annual International Competition, The Print Center, Philadelphia, PA, Award

2000
Seven Washington Printmakers, Washington Art Club, Washington, DC

1999
63rd Annual Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH
Outward Bound: American Art on the Brink of the Twenty-first Century, Meridian International Center, Washington, District of Columbia, and traveling to The Museum of Fine Arts Hanoi, Vietnam, The Painting Institute, Shanghai, China, The Working People's Cultural Palace Beijing, China, The CIPTA Gallery, Jakarta Arts Center, Jakarta, Indonesia, The Metropolitan Museum, Manila, Philippines, and The Singapore Art Museum, Singapore

1998
More Than One: Prints and Portfolios from Center Street Studio, University of Richmond, Richmond, VA
The Second National Minnesota Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN

1997
The Distinct Still Life, Pepper Gallery, Boston, MA 61st Annual Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH
The 40th Chautauqua National Exhibition of American Art, Chautauqua, NY, Marion A. Rahm Award for Landscape
Prints Washington '97, Corcoran Gallery of Art, Washington, DC
Group Exhibition, Forni Gallery, Bologna, Italy

1996
Treasures for the Community, The Chrysler Collects, The Chrysler Museum, Norfolk, VA
The 39th Chautauqua Exhibition of American Art, Chautauqua, NY
171st Annual Exhibition, National Academy of Design, New York, NY

1995
59th Annual Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH
14th Annual September Exhibition, Alexandria Museum of Art, Alexandria, LA, Award

1994
The Irene Leache Memorial Exhibition 1994, The Chrysler Museum, Norfolk, VA, First Prize
New Talent, Alpha Gallery, Boston, Massachusetts
American Drawing Biennial IV, Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA

1993
57th Annual Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH

1992
Washington Project for the Arts at the Hemicycle, Corcoran Gallery of Art, Washington, DC

Bibliography:

2010
Roberta Fallon and Libby Rosof's Artblog, Big Bang, Small Bang at Gallery Joe, (25 February 2010)

2009
Gopnik, Blake, Head north and follow the signs of contemporary times, The Washington Post, Washington, DC (22 November 2009), p.E5
Zevitas, Steven, New American Paintings 81, The Open Studios Press, Boston, MA
Aho, Eric, Home, exhibition catalogue, 62 pages, full color, Westport Arts Center, Westport, CT

2008
Roberta Fallon and Libby Rosof's Artblog, Charles Ritchie's Shadow World at Gallery Joe, (7 December 2008)
Newhall, Edith, From His Window, A Distinctive View, The Philadelphia Inquirer (9 November 2008)
Hill, Lori, Philadelphia City Paper, First Friday Focus: Arts, Charles Ritchie at Gallery Joe (4 November 2008)
Ennis, Lynn and Brad Thomas, From the Inside Looking Out: The Journals, Drawings and Prints of Charles Ritchie, exhibition catalogue, 28 pages, full color, The Gregg Museum of Art & Design, North Carolina State University, Raleigh

2007
Cotter, Holland, Mequitta Ahuja and Charles Ritchie at BravinLee programs, The New York Times, Weekend Arts, Last Chance (1 June 2007), p. E1
Filson, Joan Pinkerton, Franz and Virginia Bader Fund Nurtures Mid-Career Artists, The Washington Print Club Quarterly, Spring 2007, pp 4-6, Volume 43, No. 1
O'Sullivan, Michael, Galleries: The Quiet Pull of the "Bader Fund" Show. The Washington Post, Washington, DC (12 January 2007), p.WE21

2006
Miller, Lenore D. and Johanna Halford-MacLeod, The Franz and Virginia Bader Fund: Artists of the First Three Years, exhibition catalogue, Luther W. Brady Art Gallery, George Washington University, Washington, DC, pp. 3, 7
Bostic, Connie, Slow Hand, Mountain Xpress, Asheville, NC (September 6, 2006)
Zevitas, Steven, New American Paintings 63, The Open Studios Press, Boston, MA (Spring 2006)
Newhall, Edith, Two Fine Painters, One Show The Philadelphia Inquirer (March 10, 2006)

2005
Sozanski, John, Eclectic Watercolors, The Philadelphia Inquirer (November 11, 2005)
Fallon, Roberta, Not So Sketchy, Philadelphia Weekly (October 19-25, 2005)
McGinty, Johnathan, Museum Exhibits Work of Alumnus, The University of Georgia Columns, Volume 32, No. 7 (July 11, 2005), p. 3
Denker, Eric, The Corcoran 2005 Print Portfolio: Drawn to Representation, exhibition catalogue, pp. 3, 22, Washington, DC, 2005
Amedori, Kari, Charles Ritchie, Baltimore Magazine, Catch It, Volume 98, No. 3 (March 2005), pp. 18, 33
McNatt, Glenn, Ritchie Gives Familiar Suburbs an Artist's Touch, The Baltimore Sun, Arts (March 3, 2005)
McCabe, Bret, Night Moves, Arts, Baltimore City Paper, (February 10, 2005)
Giuliano, Mike, Critic's Pick, Baltimore City Paper, Suburban Journals, (February 5, 2005)

2004
Turchi, Peter, Maps of the Imagination: The Writer as Cartographer, Trinity University Press, San Antonio, TX (illustrations pp. 47, 48, 213)
McQuaid,Cate, "Exhibit Showcases Studio's Exploration of the Art of the Print: Founder Fuels the Talents of Many," The Boston Globe, 24 October 2004
Turchi, Peter and Charles Ritchie, Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, 72 pages, full color, with an preface by Marjorie B. Cohn, University of Richmond Museums, Richmond, VA
Roberts-Pullen, K. Paulette, Sleepwalking in the Suburbs: An Artist Awakens After Years of Practice Looking, Style Weekly, Richmond (April 7, 2004) Vol. XXII, No. 14, p.25

2003
Donohoe, Victoria, Value and Presence Exhibition Review, Philadelphia Inquirer, Sunday, February 2, 2003 Fallon, Roberta, "Drawing Conclusions", Philadelphia Weekly February 19, 2003, Volume XXXII, No. 8 2002
Hirsch, Faye, Charles Ritchie, Working Proof: Reviews of Prints, Photographs, and Multiples, Art On Paper, Volume 7, No.1, September-October 2002, p.55 2001
Shaw-Eagle, Joanna, Print Masters at Corcoran, The Washington Times, Wasshington, DC, December 8, 2001
Kurtz, Robert L., 65th Annual Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH, exhibition catalogue
Zevitas, Steven, New American Paintings 33, The Open Studios Press, Wellesley, MA

2000
King, Loren, Pressing Matters, artsMEDIA: Bostons monthly Guide to the Visual Arts, April 15 - May 15, 2000, p.8-9
Hirsch, Faye, Charles Ritchie, Working Proof: Reviews of Prints, Photographs, and Multiples, On Paper, Volume 3, No.2, March-April 1999, p.55
Gliick, Herbert, New American Paintings 21, The Open Studios Press, Wellesley, MA

1998
Protzman, Ferdinand, Galleries: Holzberg and Ritchie at Numark, The Washington Post Washington, DC (29 January 1998), p.B7
Godwin, Kurt, Karen Holzburg Charles Ritchie Numark Gallery, Articulate, March-April 1998, pp 9-10

1996
Fanning, Gabriella, Charles Ritchie, Working Proof: Reviews of Prints, Photographs, and Multiples, On Paper, Volume 1, No.1, September-October 1996, p.29
Brodie, Jacqueline, Charles Ritchie, Prints and Photographs Published, The Print Collector's Newsletter, Volume XXVII, No.1, March-April 1996, p.29
Protzman, Ferdinand, Minimalists with Maximum Skill, The Washington Post, Washington, DC, 8 June 1996, p D2

1995
Kurtz, Robert L., 59th Annual Midyear Exhibition, The Butler Institute of American Art, exhibition catalogue, Youngstown, OH, cover illustration / p.6

1994
Annas, Teresa, Visions of Inner and Outer Worlds, The Virginian-Pilot and The Ledger Star, Norfolk, VA (October 16, 1994) , p.E7
Pappas, Brian, A Peach of a Leache, City Magazine, Norfolk, Virginia, 15 July - 15 August 1994, p 21

1993
Erickson, Mark St. John, Ordinary View Assumes Epic Proportions, At a Glance, Hampton, Daily Press, Hampton, VA (June 20, 1993) p.1/13
Bullard, CeCe, From the Ordinary, Pure Poetry Art Review, Richmond Times-Dispatch, Richmond, VA (February 2, 1993) p.C3
Roberts-Pullen, K. Paulette, Home-Made Art Style Weekly, Richmond, VA (January 12, 1993) Vol. X, No. 36, p.20-21

Lectures, Panels, and Presentations:

2012
Lecture, 34 Years of Keeping a Journal: Notes on a Daily Practice for Artists and Writers, Arcadia University, Glenside PA 

2011
"Charles Ritchie: Journals to Drawings to Prints", Lecture, Towson University, Towson MD

2010
"Why Make Prints? An Artist's Epiphanies", Lecture, National Gallery of Art, Washington, DC

2009
Matisse as Printmaker, Panel Discussion, The Baltimore Museum of Art, Baltimore, MD

2008
Charles Ritchie, Journals, Drawings, and Prints, Anne Arundel Community College, Arnold, MD
Charles Ritchie: Thirty Years of Drawing, Gallery Talk, Gallery Joe, Philadelphia, PA
Charles Ritchie: Staring Back, Maryland Institute College of Art, Baltimore, MD
Charles Ritchie, The Invisible, Gregg Musuem of Art & Design, North Carolina State University, Raleigh, NC
Charles Ritchie, Staring Back, Gregg Musuem of Art & Design, North Carolina State University, Raleigh, NC
Charles Ritchie: Journals, Drawings, Prints, Minneapolis College of Art and Design, Minneapolis, MN

2007
"Quiet Normal Life" 30 Years in Journals, Works in Progress Lecture Series, National Gallery of Art, Washington

2006
Charles Ritchie: Journals, Maryland Institute College of Art, Baltimore, Maryland
Charles Ritchie: Bioluminescence, Gallery Talk, Akus Gallery, East Connecticut State University, Willimantic, CT
Keep Your Heart in Your Pocket, Keynote Speaker, Southern Graphics Council 2006, Madison, Wisconsin

2005
Private Astronomies: Suburban Journals: The Sketchbooks, Drawings, and Prints of Charles Ritchie, five presentations delivered during exhibition tour at the following venues University of Richmond, Richmond Virginia, University of Maryland, Baltimore County, Georgia Museum of Art, Athens, Georgia

1993
Three Themes: Interior, Exterior, and Reflection, Lecture, University of Richmond, Richmond, Virginia
Panel on Censorship in the Arts, University of Richmond, Richmond, Virginia
Experimental Film Program and Discussion, Marsh Art Gallery, University of Richmond, Richmond, Virginia

1988
Charles Ritchie: Works 1982-88, Lecture; University of Georgia Studies Abroad Program, Cortona, Italy

Professional Experience:

1988 - Present: Associate Curator, Department of Modern Prints and Drawings, National Gallery of Art, Washington, DC

Reviews and References

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

New American Paintings #100, South Edition, Forthcoming Spring 2012

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

New Online Journal Entry, 17 October 2011
Video Walkthrough of Dust and Shade: Drawings by Charles Ritchie Exhibition

Charles Ritchie, BravinLee programs website
Selected Images, Biography, Press

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

New Online Journal Entry, 24 September 2011
Dust and Shade: Drawings by Charles Ritchie

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

Charles Ritchie: Dust and Shade, 24 September 2011
Illustrated List of Works in Exhibition

The Art Start of the Year in Philly, 14 September 2011
Phebe Shinn, Weekly Press

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

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

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

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

Co-published by The Gregg Museum of Art & Design, Raleigh, NC and Gallery Joe, Philadelphia, PA.  Full color, 28 pages, 15 dollars plus 5 dollars shipping and handling.  Contact Lynn Ennis, email: ljennis@gw.fis.ncsu.edu.

New at the Gregg Musuem of Art and Design, 20 August 2008
New Raleigh

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

Mequitta Ahuja and Charles Ritchie

Ms. Ahuja makes her New York solo debut with large paintings on paper of mythical beings, half woman, half animal, dressed in robes as brilliantly colored as the tropical fruit and flowers around them.  Referring to the artist's African-American and East Indian background, the pictures turn marginality into a regal condition.  The gallery also kicks off its new artist's book program with a display of sketch books by Mr. Ritchie, an artist based in Maryland.  Each small book is filled with marvelous watercolors and all but indecipherable writing.  Mr. Ritchie has been making such books for 30 years.  They are extraordinary.  BravinLee programs, 526 West 26th Street, 2nd floor, (212) 462-4406, closes tomorrow.  

Holland Cotter   © The New York Times 2007

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


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

The Quiet Pull of the 'Bader Fund' Show
at the Luther W. Brady Art Gallery, George Washington University
By Michael O' Sullivan
For The Washington Post

Unlike those showcases, however, which have tended to include sometimes edgy work, "The Franz and Virginia Bader Fund: Artists of the First Three Years" is a pretty sedate show, featuring artists working almost entirely representationally. The lone exception is talented local sculptor Yamaguchi, whose art is known for its quiet, almost hermetic symbolism. Here, she's represented by two works: a wall of half-biomorphic, half-calligraphic shapes in translucent resin called "Metamorphosis/Transient" and a cloudlike ball of copper wire and resin bead-forms titled "Web #8." Part of a series, the latter evokes both the unknowability of the human brain and the World Wide Web.

Of the other artists, whose work ranges from Kenny's tight surrealism to Kanevsky's brushy renderings of a fish, an apple tree and a female figure, the late MacDonald of Silver Spring stands out, and not merely because the show is dedicated to him, as a memorial of his death last year from cancer at age 59. Although you might want to call his work sedate, it's nowhere near sleepy.

Spare and unhurried -- to use the words of artist, teacher and critic Janis Goodman, whose review of the artist's work on WETA television is featured on a gallery computer -- MacDonald's two prints and one painting inspired by the architecture and angst of suburbia seem to throb with an otherworldly power. In unpopulated streetscapes, such as the oil-on-paper "Mysteries (of Silver Spring) Girls Portion," which memorializes the now-vanished strip mall at Colesville Road and Georgia Avenue, MacDonald creates empty stage sets wherein the dramas of our own subconscious fears and desires play out.

Having gown up mere miles from the site of "Mysteries," and having known the artist, I find special resonance in MacDonald's work, including the more generic houses depicted in the silkscreens "Memoria Suburbiae" and "Suburban Apotheosis." Still, there is 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 the two small drawings identified as -- but not immediately obvious as -- self-portraits. Gradually, it becomes apparent that the images are reflections in windows. Bits of the frame are visible, as are half-glimpsed objects in the interior, but only dimly the artist himself. Like MacDonald's work, the built environments around us seem meant to be read as stand-ins for our own theatrically shadowed psyches.

THE FRANZ AND VIRGINIA BADER FUND: ARTISTS OF THE FIRST THREE YEARS Through Jan. 26 at the Luther W. Brady Art Gallery, George Washington University Media and Public Affairs Building, second floor, 805 21st St. NW (Metro: Foggy Bottom-GWU). 202-994-1525. Open Tuesday-Friday 10 to 5.

 

© 2007 The Washington Post

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

The Cartin Collection, 14 May to 14 August 2006
Lyman Allyn Art Musuem, New London, CT

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

Two fine painters, one show
Nicole Phungrasamee Fein and Charles Ritchie
at Gallery Joe.
By Edith Newhall
For The Philadelphia Inquirer

A two-person show in which both artists shine shouldn't be a rare occurrence. But it too often is, which makes the current Gallery Joe exhibition pairing the works of Nicole Phungrasamee Fein and Charles Ritchie an unexpected treat.

Seeing Fein's and Ritchie's small but otherwise entirely unrelated watercolor pieces was a little like going to an ice-cream shop on a hot July day and trying to choose between such distinctive and likely competing flavors as peppermint stick and mango. In this particular case - art being ice cream - choice was not an option. I'd have ordered a scoop of each on one cone.

Fein's watercolor paintings do, in fact, have something in common with ice cream. Her colors, like De Kooning's or those of the Washington Color School painter Gene Davis, are coffee, lemon, peach, strawberry, pistachio, and boysenberry, among others. And her arrangements of those hues into stripe paintings - she also paints grid patterns - suggest miniature horizontal versions of Davis' vertical stripe paintings. That other horizontal stripe painter, Agnes Martin, comes to mind, too.

Both are superficial resemblances, though. Fein's practice of using the same pool of water to mix her paints - making each of her colors unrepeatable and unique - makes this work unpredictable and very much her own.

Ritchie's watercolors of nocturnal scenes in and around his Maryland home are spellbinding, not least because they were all painted at the same table in the same room of his house, and are all composed of tones of black and white, yet manage to be strikingly different from one another.

For example, there are paintings from two separate suites of self-portraits here, each individual work depicting Ritchie's self-portrait as reflected in a window, but some of these portraits are as easy to recognize as others are difficult. I found myself lingering in front of several of his self-portrait paintings waiting for the image of his face to coalesce, which it eventually did, but never in the way I'd anticipated it would.

Ritchie's paintings of straight and reflected images of the interior and exterior of his house often seem like composites of views, which I suppose, in effect, they are. The newest body of work in his show, a series called "Pages," juxtaposes Ritchie's tiny, almost indecipherable writing describing his experiences and dreams with images of his table at the window. These minute intimate pieces, though less photographic-looking than his other work, are reminiscent of trompe l'oeil painting.

Gallery Joe, 302 Arch St., noon to 5:30 p.m. Wednesdays through Saturdays. Through March 25.
215-592-7752 or www.galleryjoe.com.

© The Philadelphia Inquirer

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