Todd

Bartel

Todd Bartel received a BFA from Rhode Island School of Design in 1985 concluding his studies at RISD’s European Honors Program in Rome. In 1990, he was a recipient of the Jacob K. Javits Fellowship (U.S. Department of Education, Washington, D.C.) and the Liquitex Art Materials Award. He earned an MFA in Painting from Carnegie Mellon University in 1993. Bartel’s work assumes the forms of painting, drawing, and sculpture in a collage and assemblage format. His work investigates the interconnected histories of collage and landscape and the roles of nature and natural resources in Western culture. Bartel was awarded a Connecticut Council on the Arts Fellowship Grant in 2000 in support of the continuation of his related series entitled, Terra Reverentia and Garden Studies. Bartel has taught drawing, painting, and sculpture at Brown University, Manhattanville College and Carnegie Mellon University, Vermont College MFA in Visual Art, New Hampshire Art Institute MFA in Visual Art among others. He has been a guest critic at Rhode Island School of Design, a visiting critic at Vermont College (since 1999) and New Hampshire Art Institute since 2014. Bartel has lectured at Alfred University, Western Connecticut State University, Rensselaer Polytechnic Institute, Montclair State University, Chatham College among others. His work has been exhibited nationally in venues that include Palo Alto Art Center (Palo Alto, CA), Katonah Museum (Katonah, NY), Brockton Art Museum (Brockton, MA), The Rhode Island Foundation (Providence, RI), Zieher Smith (New York, NY), Mills Gallery (Boston, MA), Iona College (New Rochelle, NY). He is the founder and Gallery Director at the Cambridge School of Weston’s Thompson Gallery, a gallery dedicated to thematic inquiry, including such exhibition series as Sublime Climate, Collage at 100,Kiss the Ground, Nowhere Everywhere, With Eyes Open,  and About Vulnerability. A seasoned teacher since 1986, Bartel currently teaches drawing, painting, collage, assemblage, conceptual art, and installation art at The Cambridge School of Weston, Weston, MA.

Todd Bartel was the inaugural recipient of Rhode Island School of Design'sArt and Design Educator Award

Artist WebsiteVisit ShopDedicated Issue
Anima Hominis, [Landscape Vernacular 3], 2011
Interlocking collage, recto: 19th-century endpapers, bookplate, Alfred DeCredico collage remnant, xerographic transfer, pencil; verso: 19th- and 20th-century end-page cuttings for seam-support,
document repair tape, Yes glue; artist-made frame
14.75 x 13.75 in.

A Journey (After A.D.), [Landscape Vernacular 1], 2011
Interlocking collage, recto: 19th-century endpapers, Alfred DeCredico collage remnants, xerographic transfers, pencil; verso: 19th- and 20th-century end-page cuttings for seam-support, document repair tape,
Yes glue; artist-made frame , 10.875 x 10.75 in.

Another Scapegrace Turning Point (Cole’s Erratics), [Landscape Vernacular 26], 2025
Interlocking collage; recto: rust transfer on joined 19th-century end pages, inserted xerographic faux engraving of Thomas Cole’s 1836, The Course of Empire—The Arcadian or Pastoral State, inserted red division lines from Bridge scoresheet, xerographic prints on 21-century end page papers of the definition of “watershed” (Webster’s 1974, New Oxford Dictionary of English 1998), pencil; verso: xerographic transfers,
pencil and color pencil, artist-made frame,
22.375 x 16.625 in.

Earth's Green Mantle (Feedback),
[Landscape Vernacular 25],
2024
Interlocking collage; recto: rust transfer on blank 19th-century sketchbook pages and weathered aviary book page cuttings set into John James Audubon’s American Robin No. 27, Lithograph 1832 (printed by R. Havell) with pencil and inset xerographic transfers; verso: xerographic transfers, pencil and document repair tape on back of John James Audubon’s American Robin No. 27,
lithograph, artist-made frame, 18 x 16 in.

Surrender to Commensalism,
[Landscape Vernacular 20],
2022-23
Recto: interlocking collage, xerographic prints on 19th- and 20th-century endpapers and Economic Map of South America" (The New•World Loose Leaf Atlas, C. S. Hammond & Company, Inc. 1926)
and map graticule cuttings inserted into weathered library bulletin board paper;
verso: xerographic transfers on weathered library bulletin board paper, pencil and xerographic prints on 19th and 20th-century end-page cuttings, document repair tape, Yes glue, pencil on end-page cuttings for seam-support; artist-made hinged frame.
25.875 x 20 in.

Proportions and Table Manners,
[Landscape Vernacular 7],
2014
Interlocking collage; recto: 19th-century endpapers, marbled papers, xerographic prints on vintage endpapers, xerographic transfers, weathered library bulletin board paper, canceled stamp and envelope remnant, pencil, antique cellophane tape; verso: xerographic transfers, document repair tape, pencil, endpaper cuttings, Yes Glue; artist-made frame, 24.5 x 19.125 in.

Proportions and Table Manners,
[Landscape Vernacular 7],
2014
Interlocking collage; recto: 19th-century endpapers, marbled papers, xerographic prints on vintage endpapers, xerographic transfers, weathered library bulletin board paper, canceled stamp and envelope remnant, pencil, antique cellophane tape; verso: xerographic transfers, document repair tape, pencil, endpaper cuttings,
Yes Glue; artist-made frame, 24.5 x 19.125 in.