Mark Lombardi |
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 BCCI Fragment, 1996 |
Mark Lombardi was born in Syracuse, NY in 1951 and moved to New York City in 1997. Recent one-man exhibitions include shows at Deven Golden Fine Art, NY (1999) and at the Museum of Contemporary Art in Washington, DC (1998). His work has been featured in many group shows: at Rosamund Felsen Gallery in Santa Monica, CA (1999), at Exit Art, NY (1999), Pierogi 2000 in Brooklyn, NY (1999), and at the Drawing Center, NY (1997). |
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| "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 5x12 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 map 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 distill 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. Here black represents the essential elements of the story while 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."
Selected Bibliography Johnson, Ken. "Lombardi at Deven Golden Fine Art." The New York Times, November 5, 1999. Moshkovits, Boris. "Lombardi at Pierogi 2000." Flash Art, May 1999. Rubinstein, Raphael. "Lombardi at Pierogi 2000." Art in America, June 1999. Slivka, Andrey. "Lattice of Confidence." New York Press, March 18, 1998. Smith, Roberta. "Review: Lombardi at Pierogi 2000." The New York Times, December 25, 1998.
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