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He's the NYC artist whose works helped, literally, draw the connections between the various criminal elements that Bartcop and others call the BFEE? He was a "suicide," too, in early 2000. Odd how his career was just taking off at that time. Below is a detail of his work, illustrating the connections between James R Bath, George Bush Jr and the bin Laden family. Neat work. Prescient, too. 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, c.1997/8 SOURCE: http://www.pierogi2000.com/flatfile/lombardidrawingshow.html Village Voice printed an "objective" essay: Of Friendsters and Foes
The conspiracy art of Mark Lombardi: Crime-fighting tool—or 'just here to help'?By Lawrence Rinder Only connect: a detail from one of Lombardi's creations image: Courtesy the Drawing CenterMuch is being made lately of the FBI's phone call to the Whitney Museum in the immediate aftermath of the 9-11 attacks requesting access to Mark Lombardi's drawing BCCI, ICIC & FAB (1996-2000). This piece, the last work the artist made before he was found dead in his studio in March 2000, an apparent suicide at age 49, represents the tangled web of power and influence that comprised the largest banking scandal in history—in which an impenetrable network of holding companies, affiliates, subsidiaries, and banks-within-banks laundered billions of dollars while supporting terrorism, arms and drug trafficking, and prostitution. The names of Saddam Hussein and George H.W. Bush, among many other high- and low-profile world figures, are connected by a network of delicate, yet potently insinuating, pencil lines. The FBI agent who called was informed that the work was on view in the museum's galleries, where he was welcome to see it during it during regular museum hours. A visit to the current Mark Lombardi exhibition at the Drawing Center (35 Wooster Street, through December 18) by an affiliate of the Homeland Security Agency has also raised eyebrows in the art world. The typical response to these incidents has been one of startled indignation: We don't want Big Brother snooping around our museums, galleries, and studios. Yet wafting about these protestations is a hint of relief and even pride. Attention from the feds accomplishes, for some, what so many of us have had trouble doing. It proves that art really matters . . . even to national security! Surrounded by constant reminders of our vulnerability, some may feel, albeit unconsciously, the need for art to do its part and so imagine that Lombardi has arrived just in time to secure the place of the fine arts in the emerging national paradigm of surveillance, paranoia, and control. Unfortunately, or perhaps fortunately, the claims being made for Lombardi's relevance to the war on terror are rather overblown. No one knows if the FBI ever made it to the Whitney, and the Homeland Security guy was not on active duty. In fact, Lombardi's drawings don't reveal that much. According to his own iconographic code, a line with an arrow, for example, simply signifies "influence." So, a series of arrows leading across the BCCI, ICIC & FAB drawing from Bush to Saddam does not necessarily mean that the two were in cahoots, as conspiracy theorists might wish to deduce. What Lombardi's works tell us is not the specifics of the connections between people, but simply that such connections exist. His drawings play across the surface of scandal and intrigue. This is not the sort of thing America's spies really need. Indeed, as far as tools for unraveling the networks of evil are concerned, they may already have the biggest and best at hand. Under the guidance of John Poindexter, of Iran-Contra fame, the Defense Department developed the Total Information Awareness (TIA) program last year, a vast computerized database that, according to the official TIA website, utilizes "topsight"—a term coined by tech guru David Gelertner—to enable users "to see the whole thing." (TIA's funding was stopped by Congress in September.) What is the "whole thing?" It's the same territory explored by Lombardi: the network of individuals, organizations, deals, transfers, and transactions that constitute the de facto architecture of global power. Unlike Lombardi's beautiful but superficial diagrams, TIA goes wide and deep, providing big-picture scenarios while simultaneously zeroing in on individual players and their possible motives in the emerging global-terror drama. Lombardi's drawings lack the specificity and attention to pattern needed to be useful as true investigative tools. On the contrary, it is in their very aimlessness, their sprawling attention to surface incident, that the works' purpose unfolds. In a recent article published by Clear Cut Press (clearcutpress.com), the Office for Soft Architecture, based in Vancouver, explores the Pacific Northwest's invasive alien plant species the Himalayan blackberry (Rubus armeniacus) as a figure by which to understand the attraction of surface as opposed to deep structure. "The limitless modification of the skin is different from modernization," they write. "(S)urface morphologies, as Rubus shows, include decay, blanketing and smothering, dissolution and penetration, and pendulous swagging and draping as well as proliferative growth, all in contexts of environmental disturbance and contingency rather than fantasized balance." They go on to say, apropos of architecture itself, "Superficies, whether woven, pigmented, glazed, plastered, or carved, receive and are formed from contingent gesture. Skins express gorgeous corporeal transience. Ornament is the decoration of mortality." In Mark Lombardi's work we have just such an expression of the smothering abundance of ornamental information. CONTINUED... http://www.villagevoice.com/news/0350,essay,49315,1.html
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