Bill Ritchie's work in the
Gordon Sondland Collection
Sweet Target Hearts
(Facsimile image - awaiting Sondland's actual version of this art)
1976 Lithograph, intaglio, relief, chine-colle. Gray, brown, orange, black, ochre, yellow. Image(s) 19 1/2 X 14 3/4 in. each on 29 1/2 X 42 in. Arches Cover. Signed lower right. Collections also of Billie and Eric Bryan, Sam Davidson, Lynda Ritchie, Nellie and Mike Sunderland, The Evergreen State College and others. Exhibited at Northwest Printmakers, Anacortes and Everett Art Festivals.
Artist's Comment: One of the best-documented prints I did in terms of keeping notes--available on the Web--because it bridge the time in 1975-1976 that I made my first trip from Seattle to Japan and back. This trip--or bridge--served me in ways similar to my old heroes of the Northwest School, the painters Graves, Toby and their kind. The name comes from a strange source--cartoons and pop music!
Two drawings on lithograph stones that started out to be a continuation of the Target Heart Series (I had one about five before) but then I got something like "writer's block." I was in a dilemma as to what to do until I went to Japan and discovered it is "all right" to repeat myself in my art and craft. I wrote an essay about, too. C. T. Chew helped me through it.
It was hard to list this as a "lithograph" when I wrote down the methods I used to make this print. I settled on the drawings on stone because they got the thing started. Then I added and added and added to my plates--even got C. T. Chew to add his collagraphs! -- until they came together as you see them now. The making of the Sweet Target Heart suite of prints spans almost a year in which one of my biggest dilemmas seemed to reach resolution. That was what I call the dilemma of redundant art. Then again, I am not sure. You can see an essay, "On Sweet Target Hearts," on the resolution of my dilemma is available on-line in the Perfect Press 'Zine located at Perfect Press.
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