Bartow + Metzgar


Bartow+Metzgar
September 25, 2014, 4:58 PM
Filed under: Bartow+Metzgar

Below you will find projects by Bartow+Metzgar (Paul Bartow and Richard Metzgar) and projects by Paul Bartow.

B+M 2

Bartow+Metzgar have been working together since 1999.  Both studied Visual Art and Architecture.  B+M focus their interest on human and nonhuman entanglements which can be thought of as interwoven systems involving history, culture, nonhuman agents, material interactions, and time.  Their practice is emergent and shaped largely by a collaborative sensibility, often involving practitioners from other disciplines and leading to diverse subjects of research from one project to the next.  Recent projects involve work with collaborators from the fields of Geology, Microbiology, Geography, Film, and Architecture.

Paul Bartow is an artist, designer, researcher, educator, and builder.  His practice with collaborators, not involving Metzgar, falls under the moniker B+C (Bartow+Collaborator).  He is also a member of the advisory board at Mildred’s Lane, based in Beach Lake, PA and a collaborator on several recent projects; with the artist Amy Yoes, architect/designer Stan Pipkin, and film maker Jim Downer.

B+M and Paul Bartow lecture about their work and conduct project based workshops related to their practices.  Inquiries can be directed to Bartow+Metzgar or Bartow+Collaborator at stratimentation@gmail.com.  B+M/C on Facebook.



Sedimentations: geo-logics and global whispers
September 25, 2014, 4:55 PM
Filed under: Bartow+Collaborator, Paul Bartow

Postcard announcement 2

Sentimentations: geo-logics and global whispers, an installation by Bartow+Collaborator (B+C)

Friday October 3 — Sunday November 9, 2014

Opening : 4–6 p.m. Artist Talk : 5 p.m., October 3

The Mildred Complex(ity) Project Space • 37 Main Street • Narrowsburg, NY

More on this exhibition here.



Ongoing Projects: Plastic, the Future (shoreline debris); Tree Drawings (local/global movements)
January 9, 2013, 5:17 PM
Filed under: Bartow+Collaborator, Paul Bartow

Much of the world’s coastal shorelines are accumulating debris dumped into the oceans by humans through recreational and commercial activity, global waste management practices, and global weather disasters.  A large percentage of ocean debris is comprised of plastic which has a unique ability to stay intact at various stages of degradation.  Is it possible to categorize plastic fragments associated with ocean debris in a manner that is legible and informative? This project is ongoing and developing as a photo archive of documented debris (specifically plastic) collected on the shorelines of various coasts throughout North America and the Caribbean, with the intention of expanding to other parts of the world as the project allows.

A selection of plastic fragments collected on the Eastern Shoreline of Providenciales, Turks and Caicos, on the Atlantic Ocean.

PL1 B

Blue Plastic, sample

PL8 B

Blue Plastic, sample

PL7 B

Blue Plastic, sample

PL1 G

Gray Plastic, sample

PL2 G

Gray Plastic, sample

PL3 G

Gray Plastic, sample

PL1 R

Red Plastic, sample

PL2 R

Red Plastic, sample

PL4 R

Red Plastic, sample

PL2

White Plastic, sample

PL3

White Plastic, sample

PL5 G

Green Plastic, sample

PL4 G

Green Plastic, sample

PL 1Y

Yellow Plastic, sample

PL 3Y

Yellow Plastic, sample

Tree Drawings:  Local/Global movements

Tree drawings are an ongoing part of B+M’s and B+C’s experimental drawing practice involving nonhuman life forms and the local/global atmospheres that they share with humans.  Below are two sets of drawings produced simultaneously over a four day period.  The top row is a set of four tree drawings produced by a Coconut Palm tree over four consecutive days (read from left to right).  Each drawing was done over a 3 hour and 40 minute duration.  Similarly, the bottom row is a set of four tree drawings produced by a Norfolk Island Pine tree over four consecutive days.  Each drawing was done over a 3 hour and 15 minute duration.  The drawings below were produced on the island of Providenciales, Turks and Caicos, from 12-30-12 to 1-3-13.

Turks Caicos TD Poster 1-13

Top row: Coconut Palm tree, 3 hours 40 minutes; Bottom row: Norfolk Island Pine tree, 3 hours 15 minutes

Coconut Palm 3h40m 12-30-12

Tree drawing, Coconut Palm, 3 hours 40 minutes, 12-30-12

Coconut Palm 3h40m 1-1-13

Tree drawing, Coconut Palm, 3 hours 40 minutes, 1-1-13

Norfolk Island Pine 3h15m 12-30-12

Tree drawing, Norfolk Island Pine, 3 hours 15 minutes, 12-30-12

Norfolk Island Pine 3h15m 1-3-13 sml

Tree drawing, Norfolk Island Pine, 3 hours 15 minutes, 1-1-13



When I Heard the Learn’d Astronomer
November 13, 2012, 5:44 PM
Filed under: Bartow+Metzgar

When I Heard the Learn’d Astronomer, a small group exhibition curated by Liz Sheehan at SPACE Gallery in Portland, Maine where Bartow+Metzgar are exhibiting nonhuman drawings.  B+M’s contribution to this exhibit consist of forty-seven tree drawings and ten microbial (bacteria) drawings from their DeCordova project (see below – Stratimentation) and twenty new tree/plant drawings, and four new car drawings created in Portland.  Read the catalog essays for this exhibition by curator Liz Sheehan here and by contributing writer Stan Pipkin here.

Read a review of this exhibit in the Portland Press Herald, and Amy Sand-Friedman’s writing about B+M’s tree drawings in her essay Portraits of Land and Sea, published in Issue 4 of the literary journal, The Common.

47 Tree Drawings, ranging in time from 2 hours to 8+ hours

Microbial Drawing (made by bacteria in the soil)

Richard Metzgar of B+M, sharing information about the tree drawing process.

B+M SPACE 5 Station TD Install Small

5 sets of tree drawings, 1 drawing for each day (total of 4 days)

Each vertical row represents four days of drawing for a specific location.  The five rows represent five different locations.  One drawing was made per day for each location respectively.  The drawings reveal qualitative differences of time for an average of seven hours drawing time per drawing.  Each drawing is an expression of atmospheric forces (local and global) acting upon either a plant or a tree with a string and pen attached to one of its limbs/stalks.

Plant drawing in process, Goldenrod

Tree drawing in process, Apple tree



In the Pull out of the Loop
July 31, 2011, 11:59 PM
Filed under: Bartow+Metzgar

In the Pull/Out of the Loop, an installation that is part of a curated exhibit titled State of the City: In the Loop at the Rochester Contemporary Art Center, Rochester, NY, August 5 – September 25, 2011.  B+M experimented with movement, speed, and bodily engagement for their investigation of Rochester’s Inner Loop (inner city expressway).  B+M also investigated nonhuman agents that qualify this urban infrastructure as a unique urban/natural environment. This installation consists of environmental samples in the form of video, specimen photographs, and nonhuman drawing.  It is a glimpse into the space of the Inner Loop from the hybridized perspective of the human and nonhuman.  This project was made possible with the assistance of Jim Downer, a film maker from the Rochester, NY area.  See a short video of the project here.  Read a review  of this exhibit in Rochester’s City Newspaper.

Collection 1 and 4 from the Inner Loop

Detail of Collection 1

Image sample, Collection 1

Image sample, Collection 1

Detail of collection 6

Image sample, Collection 6

Detail of collection 6

Image sample, Collection 3

Detail of drawing machine video and drawing machine drawing

The drawing machine was placed in the bed of a pick-up truck which was driven on the Inner Loop at various speeds derived from eight elevation points pulled from its geographic footprint.  The different elevations were converted to speed differentials, which in turn affected the qualitative outcome of the drawing, e.g., line length, line bleed, line direction, etc.  The drawing machine video is an experiment with a perspective that captures the forces affecting an event; two cameras were used, one camera to record the road surface and another camera to record the action of the drawing machine.  The two views were synchronized to produce a strangely abstract yet completely literal narrative of the Inner Loop.

Driving map and collection key

Collection points were based on pulling vectors between public parking areas in and around the Inner Loop and where these vectors intersected its path. A total of eight collection points were produced for this project which produced 175 individual organic and inorganic specimens.



Stratimentation: investigations of a metamorphic landscape
November 23, 2010, 1:56 AM
Filed under: Stratimentation: investigations of a metamorphic landscape

Morphology Field Station, in the Dewey Gallery of the deCordova Museum

Stratimentation: investigations of a metamorphic landscape is an exhibition at the deCordova Museum in Lincoln, MA from November13, 2010 to April 22, 2011.  This exhibit  presents 1-1/2 years of field collecting on the deCordova site as an archive of more than 500 specimens accompanied by environmental audio and video, tree drawings and microbial drawings.  The conceit of this project centers on an experimental engagement with an urban site; to locate in it variations of scale, difference, time, and material relations for both the human and nonhuman.

Stratimentation: investigations of a metamorphic landscape, Installation view

Stratimentation, Geologic sample, Collection #6-292



Morphology Field Station for Sensing Place
October 20, 2010, 2:17 PM
Filed under: Stratimentation: investigations of a metamorphic landscape

Morphology Field Station for Sensing Place

Morphology Field Station for Sensing Place, a 1-1/2 year installation by Bartow+Metzgar at the DeCordova Sculpture Park+Museum in Lincoln, MA, August 2009 to September 2010.  This installation was utilized as a provisional research space where environmental samples collected from the DeCordova site were processed and registered into an archive for the study of human and nonhuman agents.

Morphology Field Station, Interior view




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