Mark Lombardi View available Lombardi works   Global Networks A traveling retrospective of 25 works by mark lombardi organized by independent curators international, new york curated by robert hobbs january 2003 - april 2005 exhibition itinerary: herbert f. johnson museum of art, cornell university. ithaca, ny 25 january - 16 march, 2003 museum of contemporary art cleveland. cleveland, ohio 30 may - 17 august, 2003 jean paul slusser gallery, university of michigan. ann arbor, michigan 5 september - 22 october, 2003 the drawing center. new york, ny 1 november - 18 december, 2003 yerba buena center for the arts. san francisco, california 17 january - 4 april, 2004 joe and emily lowe art gallery, college of visual and performing arts syracuse university. syacuse, new york 27 april - 4 june, 2004 faulconer gallery, grinnell college. grinnell, iowa 18 june - 1 august, 2004 art gallery of ontario. toronto, ontario, canada 10 september - 5 december, 2004 milwaukee art museum. milwaukee, wisconsin 15 january - 10 april, 2005           george w. bush, harken energy, and jackson stevens c.1979-90, 5th version, 1999 graphite on paper 20 x 44 inches sold               george w. bush, harken energy, and jackson stevens c.1979-90, 5th version, (detail)             pat robertson, beurt servaas and the UPI takeover battle, c.1985-91, 2000 graphite and red pencil on paper 23.75 x 53.5 inches             bill clinton, lippo group and china ocean shipping co. aka COSCO little rock-jakarta-hong kong c.1990s (5th version), 1999 graphite and red pencil on paper 60.5 x 75 inches             chicago outfit and satellite regimes, c.1981-83, 1998 graphite on paper 50 x 80 inches             gerry bull, space research corporation and armscor of pretoria, south africa, c.1972-80 (5th version), 1999 graphite and red pencil on paper 58 x 76 inches           banca nazionale del lavoro, reagan, bush, thatcher, and the arming of iraq, c.1979-90 (3rd version), 1996 graphite and red pencil on paper 51 x 138 inches             world finance corporation miami and nugan hand ltd. of sydney, australia, c.1972-80 (8th version), 1997 graphite on paper 24 x 54 inches             frank nugan, michael hand and nugan hand ltd. of sydney, australia, c.1972-80 (8th version), 1998 graphite and red pencil on paper 51 x 124.5 inches   Bibliography: Mark Lombardi's Library "Preparatory Drawings" Exhibition, April-May, 2003   The Recent Drawings: An Overview (Artist Statement) In 1994 I began a series of drawings I refer to as "narrative structures." Most were executed in graphite or pen and ink on paper. Some are quite large, measuring up to 5 x 12 feet. I call them "narrative structures" because each consists of a network of lines and notations which are meant to convey a story, typically about a recent event of interest to me, like the collapse of a large international bank, trading company, or investment house. One of my goals is to explore the interaction of political, social and economic forces in contemporary affairs. Thus far I have exhibited drawings on BCCI, Lincoln Savings, World Finance of Miami, the Vatican Bank, Silverado Savings, Castle Bank and Trust of the Bahamas, Nugan Hand Limited of Sydney, Australia, and many more. Working from syndicated news items and other published accounts, I begin each drawing by compiling large amounts of information about a specific bank, financial group or set of individuals. After a careful review of the literature I then condense the essential points into an assortment of notations and other brief statements of fact, out of which an image begins to emerge. My purpose throughout is to interpret the material by juxtaposing and assembling the notations into a unified, coherent whole. In some cases I use a set of stacked, parallel lines to establish a time frame. Hierarchical relationships, the flow of money and other key details are then indicated by a system of radiating arrows, broken lines and so forth. Some of the drawings consist of two different layers of information—one denoted in black, the other, red. Black represents the essential elements of the story while the major lawsuits, criminal indictments or other legal actions taken against the parties are shown in red. Every statement of fact and connection depicted in the work is true and based on information culled entirely from the public record. —Mark Lombardi       silent partners 20 november - 20 december 1998 held over until 11 january 1999   press release "Busted banks, hot money, financial fraud...people make art out of that these days?" "They do now," says Mark Lombardi. Pierogi 2000 is pleased to present Mark Lombardi's first solo show in New York. Working from syndicated news stories and other published reports, Lombardi compiles and transforms vast amounts of financial and historical data into what he calls "narrative structures" - drawings which at times consist of hundreds of notations juxtaposed and woven into a single, unified strand or image. In this show, the artist examines a series of global financial intrigues stretching from Baltimore and Little Rock to the Caribbean, Europe and Australia. In one drawing he considers the role played by a Philadelphia bank in the sale and export of embargoed high-tech weaponry. In another he explores the scandal-ridden Vatican bank whose downfall in the early 1980s was described by Fellini, who closely followed the affair, as "a thriller...an old-fashioned bloodthirsty story." "At some point in my development," says the artist, "I began to reject reductivist approaches in favor of one capable of evoking the complexity, venality and occasional brutality of the times. What emerged was a study of 'irregular' financial transactions, with special emphasis on those undertaken in secret by select groups of influential yet silent partners."     read some press about mark lombardi @ pierogi 2000 in memorium mark lombardi 1951 - 2000
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