Select Collages 1983 - 1989

Todd Bartel
© 2012 Todd Bartel

Todd Bartel retains sole copyright to his contributions

to this book.

This book was assembled to accompany the Hey Joe

exhibition, curated by David Powell, June 13-July 29,
2012, at the BigTown Gallery, Rochester, VT. It is the
first book in a series of books to examine each separate
body of work the artist developed since he claimed
collage as his vocation.

Virtually none of the work included in this book

was available to be digitally photographed. Thanks Thank you Hardu Keck, Alfred DeCredico,
to contemporary technology, this book was made Jack Massey and Stuart Diamond. In
possible by scanning the Ektachrome slides the artist your own way, you each showed me the
took of his work at the time the work was created. The importance of learning how to see. --TB
graininess of the scans is to be expected.

The author is grateful for Susan Hamin’s editorial

assistance.
Select Collages 1983 - 1989
Todd Bartel
Select Collages 1983 - 1989
Early Works
I was first exposed to collage through a surrealism assignment while taking
Hardu Keck’s two-dimensional design course at the Rhode Island School of
Design. Those seeds were sown during my freshman year, in the fall of 1981,
and they would prove to be important for me throughout my career as a
dedicated collage artist. My eyes were opened in another way as I learned
about risk-taking and the power of abstraction in Alfred DeCredico’s two-
dimensional design class the following spring. Many of his assignments had
a collage component—the standard joke among my peers when describing
Alfred’s classes was “paint it black and cut it up”—but emphasis was always
on the importance of seeing. And of course, much of what I learned and
experienced in those classes would enter my own pedagogy years later. At
the end of my freshman year, Alfred took his class to visit his studio. That
day—the day I saw Alfred’s work hanging on the walls of his glorious, top-floor
loft—I fell in love with collage in a conscious way. Standing right in front of one
of his pieces, I knew collage was my home. I should have respected my feelings
then, but I did not. In fact, I denied myself the pleasure of making collages for
more than a year after that visit to my professor’s home. I was afraid of being
accused of copying another’s art. I did not yet know that copying is just one of
collage’s repertoire of endless possibilities. And so, I held back until my junior
year. What a mistake that was. It wasn’t until Stuart Diamond challenged me in
his class—because he knew I wasn’t creating anything remotely personal—to
“make something you want to look at.” With that in mind, I allowed myself to
play with composite imagery for the fist time in an overtly conscious way, but,
with a lot of reservation. Begrudgingly, I made my first true collage—pictured
page 9—and I brought it in, expecting to hear all the complaints. “Look who’s
recording DeCredico now!” But to my astonishment, neither Stuart, nor my
peers chastised me. As soon he came into class for critique the next day,
Stuart made a bee-line toward my piece. He looked at it for a good while and
then at me. And he must have detected my guarded apprehension, because
as he spoke to me he lit up with a satisfied grin on his face: “Well, you finally
did it. You gave yourself a gift!” I couldn’t believe it. And I said something like,
“You mean it’s okay?” Stuart started laughing and said, “It’s great! And look,
you’re working!”
Those words propelled me like nothing before, setting me in motion to produce
my first real body of work—a select group of which is included in this edition. I
worked feverishly, every chance I could, and it seemed that with each collage
I learned or did something new. I began to play and experiment with materials,
and importantly, I began to study nature, decay and contrast. I worked
intuitively, trying to see into the flotsam and jetsam I collected; I was only
motivated by the sparks that would come from the contact of two unrelated
things that when juxtaposed or superimposed somehow gave new meaning to
each other. Transformation was the thing wherein I could catch my conscience
regarding whatever I used. And then, right at the peak of my new found
romance—only a little more than a month after I created that first piece—I
received the telegram telling me of the tragic murder of my mother, who was
strangled in a hotel room in Seoul, Korea on November 19, 1983. Theresa
Bartel (49) was there, overseeing the production of her plush and plastic toy
designs—the NFL mascots—that are still in production today. The mystery
of her death was never solved. Needless to say, the pain and melancholy of
loss would permeate my work for more than a decade, but I had fortunately
already found my voice and the vehicle to express it. While in Rome, I actively
embraced my loss and made work about it. I worked to transform the heinous
and ugly events in my life visually and poetically, and I found solace in filtering
the Italian culture through my longing. I worked with a combination of loss,
mystery and intuition until the eve of going to graduate school, when and
where my work shifted toward a more conceptual approach. And in the fall of
1989, I decided to stop making intuitive-based collage. This book was created
to offer a glimpse into that important time for me as an emerging artist. But
even though I championed other expressive skills at that next juncture, the
lessons of my early experience with collage proliferate my every action,
even to the present day.

Todd Bartel, June 20, 2012

8
 Premonition of Loss, 1983
Carbon paper, pressed rose and leaf, book cutouts, aged magazine
page and map cutouts on book binding board from Milton’s Paradise
Lost with remnant leather covering, 13.25 x 19 inches
9
 Untitled Portrait of an Unknown Man, 1983
Carbon copy transfer, pencil, Elmer’s glue, book cutouts, aged magazine page, pressed leaves and
paint chips on Odd Fellows Union yearbook page (c. 1930), 11.5 x 13.5 inches
10
 Turning Out Guard, 1984
Gouache, pencil, pressed leaves, aged magazine page, Elmer’s glue and book cutouts on Odd
Fellows Union yearbook page (c. 1930), 11.5 x 13.5 inches
11
 View from Apollo 8, 1984
Aged magazine page, cutout book engravings, pencil, enamel, marbleized paper and Elmer’s glue
on Odd Fellows Union yearbook page (c. 1930), 11.5 x 13.5 inches
12
 Reincarnating the Inanimate, 1984
Aged magazine page, book cutouts, Victorian card, pencil, enamel, pressed leaves, flower pistils
and Elmer’s glue on Odd Fellows Union yearbook page (c. 1930), 11.5 x 13.5 inches
13
 L’ Annunziazione (The Annunciation), 1984 (Rome, Italy)
Book cutouts, marbled paper, pencil, gouache, enamel and burlap
on book board with leather, 6 x 6 inches
14
 Una Nascita Classica (A Classical Birth), 1984 (Rome, Italy)
Cutout book engravings, marbled paper, watercolor and pencil on back of
page from a Florentine book (Book of Kings c. 1900), 17.75 x 13.75 inches
15
 Il Riconoscimento di un Uomo Sconosciuto I (Recognition of an Unknown Man I),
1984 (Rome, Italy)
Cutout book plates, aged magazine page, gouache, watercolor and pencil on back
of page from a Florentine book (Book of Kings c. 1900), 17.75 x 13.75 inches
16
 Il Riconoscimento di un Uomo Sconosciuto II (Recognition of an Unknown Man II),
1984 (Rome, Italy)
Cutout bookplates, magazine cutout, gouache, watercolor, gold leaf and pencil on
back of page from a Florentine book (Book of Kings c. 1900), 17.75 x 13.75 inches
17
 Lei Sognera Per Sempere I (She Will Dream for Ever I), 1984 (Rome, Italy)
Cutout book plates, glue wash, watercolor, wax, gold leaf, and pencil on back of page from a
Florentine book (Book of Kings c. 1900), 13.75 x 17.75 inches
18
 Lei Sognera Per Sempere II (She Will Dream for Ever II), 1984 (Rome, Italy)
Cutout book plates, glue wash, watercolor, Odd Fellows Union yearbook cutouts, wax, gouache
and pencil on back of page from a Florentine book (Book of Kings c. 1900), 13.75 x 17.75 inches
19
 Lei Sognera Per Sempere III (She Will Dream for Ever III), 1985 (Rome, Italy)
Cutout book plates, glue wash, aged magazine page, watercolor, Odd Fellows Union yearbook
cutouts, wax, gouache and pencil on back of page from a Florentine book (Book of Kings c.
1900), 13.75 x 17.75 inches
20
Lei Sognera Per Sempere IV (She Will Dream for Ever IV), 1985 (Rome, Italy)
Cutout book plates, glue wash, aged magazine page, watercolor, Odd
Fellows Union yearbook cutouts, manipulated carbon paper, gold leaf, wax,
gouache and pencil on back of page from a Florentine book (Book of Kings c.
1900), 17.75 x 13.75 inches
21
 Acque dalle Acque (Waters from the Waters), 1985 (Rome, Italy)
Cutout book plates, aged magazine page remnant, glue wash, gouache, watercolor, pressed
flower, Italian letter remnant (c. 1880) and pencil on back of page from a Florentine book (Book
of Kings c. 1900), 13.75 x 17.75 inches
22
 Moving Field Stones (for Jack Massey), 1985
Carbon paper transfer, gouache, pencil, Presstype, Italian letter remnant (c. 1880), book cutouts,
tin type, photo corners and snake skin on an end page from a Florentine book (Book of Kings c.
1900), 17.75 x 13.75 inches
23
 Worm Wood, 1985
Cutout book plate, reverse side of book plate, marbleized paper, wax, Italian
letter remnant (c. 1880), rose petal, gouache, Elmer’s glue and pencil on back
of page from a Florentine book (Book of Kings c. 1900), 17.75 x 13.75 inches
24
 The Meeting Place, 1985
Book end pages, gouache, moose mane, sealing wax, cutout engraving,
marbleized paper, gelatin silver print transfer, Elmer’s glue, wax, and pencil on
page from a Florentine book (Book of Kings c. 1900), 13.25 x 15 inches
25
 Nocturne No. II (Ascent of the Harvest Moon), 1986
Carbon paper transfer, cutout engravings, pencil, Elmer’s glue and book cutouts on Odd
Fellows Union yearbook page (c. 1930), 11.5 x 13.5 inches
26
 Nocturne No. III (Hibernation of a Dream), 1986
Carbon paper transfer, engraving cutouts, marbled paper, pencil, Elmer’s glue and book cutouts
on Odd Fellows Union yearbook page (c. 1930), 11.5 x 13.5 inches
27
 Nocturne No. V (Firmamental Separation), 1986
Carbon paper transfer, cutout engraving, pencil, Elmer’s glue and book cutout on Odd Fellows
Union yearbook page (c. 1930), 11.5 x 13.5 inches
28
 Nocturne No. VI (Pandora’s Box), 1986
Carbon paper transfer, pencil, Elmer’s glue and book cutouts on Odd Fellows Union yearbook
page (c. 1930), 11.5 x 13.5 inches
29
 Treading Water, 1986
Cutout book plates, reverse side of wall paper remnant, gouache, watercolor, sealing wax, three-ring
binder protectors, cat whiskers and pencil on back of page from a Florentine book (Book of Kings c.
1900), 14 x 17.75 inches
30
 Scissions, 1986
Cutout book plates, reverse side of book plates, marbled paper, gold leaf, aged magazine page,
gouache, water color, pressed leaves, antique photo c. 1900, string and pencil on Italian letter
(c. 1880), 21 x 16.75 inches
31
 Meteor Thresher, 1987
Cutout bookplates, moose mane, sealing wax, marbled paper, aged
magazine page, gouache, pressed flower petal, water color and pencil on
Italian letter (c.1880), 21 x 16.75 inches
32
 Divine Consequence, 1987
Carbon paper transfer, pressed flower petals, eucalyptus, string, sealing wax,
cutout book plates and book end-pages on Italian letter (c.1880), mounted
on book plate, 21 x 16.75 inches
33
 Trilogy of Falls, 1987
Aged magazine page, pressed flower petals, string, sealing wax, cutout book
plates, binding remnants, wooden Venetian blind, marble paper, gouache and
pencil on Italian letter (c.1880), mounted on book plate, 21 x 16.75 inches
34
 Lure for Consciousness, 1987
Pressed flower petals, marbleized paper, sealing wax, book plates, book
binding cloth, water color, acrylic and gouache on Italian letter (c.1880),
mounted on book plate, 21 x 16.75 inches
35
 Gravity Ring, 1987
Cutout book plates, wax, marbleized paper, binder cloth and paper, book end-page, Elmer’s glue,
gouache, string, cat whiskers and pencil on back of page from a Florentine book (Book of Kings
c. 1900), 17.75 x 13.75 inches
36
 Alfred Watching a Fellini Flick, 1987
LP album sleeve, duct tape, cutout book engravings, sealing wax,
gouache, wooden Venetian blind, pressed orchid, map of Italy,
charcoal, various papers, ball bearing on Italian document (c. 1880),
mounted on Arches, mounted on Masonite, 24.5 x 18 inches
37
 Cypress, 1987
Cutout book engraving, enameled fence wire, clay marbles, gouache,
sealing wax, moose mane, wood, clay marbles (c. 1880), string and
pencil on manila envelopes, over Italian document (c. 1880) map and
thrice-painted boat canvas, mounted on Arches, mounted on Masonite
38 in constructed wood frame, 24.5 x 18 inches
 Medusa’s Statues, 1989
Cutout book plates, linoleum, gouache, moose mane, plastered-wall wood, and pencil on manila envelopes,
over Italian document (c. 1880) over thrice-painted boat canvas, mounted on Arches, mounted on Masonite in
constructed wood frame, 24.5 x 35.75 inches
39
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 TODD BARTEL
b. 1962 Manitowoc, Wisconsin

EDUCATION
1993 Carnegie Mellon University, Pittsburgh, PA, MFA, Painting
1985 Rhode Island School of Design, Providence, RI, BFA, Painting

SELECT AWARDS / HONORS

2000 Connecticut Council on the Arts Fellowship Grant, Hartford, CT
1990 Jacob K. Javits Fellow, tuition grant with stipend in support of MFA degree, U.S. Dept. of Education, Washington, DC
Liquitex Art Materials Award, Easton, PA
1984 European Honors Program, Rhode Island School of Design, Rome, Italy (Sept. to May)

SELECT ONE PERSON EXHIBITIONS

2003 Implications of Glue: Todd Bartel Collage Based Work 1983–2003, Brownson Gallery, Manhattanville College, Purchase, NY
2002 Mythology of Stasis: New and Recent work by Todd Bartel, Miranda Fine Arts, Port Chester, NY
2001 Gardens, Landviews, Salvages, Gallery 221, List Art Center, Brown University, Providence RI
1991 Todd Bartel: Master of Fine Arts, Thesis Exhibition, Hewlett Gallery, College of Fine Arts, CMU, Pittsburgh, PA
1990 Todd Bartel, Reynolds Gallery, Pittsburgh, PA
1989 Todd Bartel Selected Work, Juliani Gallery, Massachusetts Bay Community College, Wellesley, MA
1985 Sentire (Thesis Exhibition), Cantina, Palazzo Cenci, RISD, European Honors Program, Rome, Italy,

SELECT GROUP EXHIBITIONS

2012 Hey Joe, Big Town Gallery, Rochester, VT
2010 Chemical Reactions, Central Booking, Brooklyn, NY
2007 Breaking New Ground: The Power and Variety of Landscapes, Iona College, Brother Kenneth Chapman Gallery
2006 Unless, Miller Block Gallery, Boston, MA
2004 Exposing Scarlet: A Visual response to the Scarlet Letter, Mills Gallery, Boston Center for the Arts, Boston, MA,
2003 Objects By Joseph Cornell and 13 Other Emerging Artists, ZieherSmith, New York, NY
Tag—Recent Work By Todd Bartel and Michael Oatman, Lenore Gray Gallery, Providence, RI
2002 Cabinets of Wonder/Redux, Palo Alto Art Center, Palo Alto, CA
Tontine, Hermen Goode Gallery, Brooklyn, NY
1999 Memory Boxes, Suzanne H. Arnold Art Gallery, Annville, PA
1995 Water, Earth, Clay, Gallery In The Square, Pittsburgh, PA
All of a Piece/All In Pieces, Katonah Museum, Katonah, NY
1994 Exquisite Drawing: Lines of Correspondence, Transmission Gallery, Glasgow, Scotland
1991 Art Beyond, Pittsburgh Center for the Arts, Pittsburgh, PA
1989 Common Roots, Diverse Objectives, Brockton Art Museum, Brockton, MA
1986 Emerging Artists, Lenore Gray Gallery, Providence, RI
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