Book Title: Mark Lombardi Global Networks
Author:Robert Hobbs
Publisher:Independent Curators International, New York


This book explains how Mark Lombardi develop his unique diagramatic drawings and what the lines and icon means. Lombardi succeeded to the Historic Portrait and Landscape painting tradition and weaved the social and political factors in a panoramic landscape.


Lombardi's Narrative Structures drawings provide a asynchronous narrative diagram which is different from the previous historical paintings. But the diagrams make the events synchronous, the time loses its temporal progress and become a space-like direction. My wifi project will reconstruct the time and space as a user-specific memorial (autobiography) to maintain the temporal progress.


One might say that, beginning in the 1960s, some Conceptual artists picked up where the history painters left off. Wanting art to represent important historical and political acts.-p12

his(Mark Lombardi) mature work - a series of drawings beun in 1994 abd cintinuing until his death, which he calleds Narrative Structures --- is both more conservative and more advanced than theirs, since he intended to update history painting in terms of theories of globalism and rhizomic schematizations of power. In these works, he replace the taproot theory crucialto history painting --- that great individuals are the initiators of important events --- with a new model based on less centralized, more serendipitous channels of power.-p13

According to Deleuze and Guattari, rhizomic flows demonsrate that "there is no universal capitalism, there is no capitalism in itself; capitalisim is at the crossroads of all kinds of formations; it is neocapitalism by nature." Their view of capitalism proved crucial for Lombardi's Narrative Structures.-p15

I originallu intended to use the sketches solely as a guide to my writing and research but soon decided that this method of combining text and image in a single field (called a drawing, diagram or flow chart, whichever you prefer) really worked for me inother ways as well. It provided a new focus to my work; tended to support the same goals as the writin - to convey socially - and politically use [sic] information; and confirmed 100% to my aesthetic inclinations - minimal, understated and somewhat iconoclastic.-p16

Although he did not undertake a study of history painting per se, Lombardi did make a concerted effort in the 1980s to understand panoramic painting, a degraded genere of popular culture......"the historian is reduced to random glimmerings obtained via shards, scraps and bits of ephemera to begin the reconstruction"......."though [the panorama is] an environment, the experience [of seeing it] resembled a narrative event." At one point in his analysis of this genre, he invokes Joseph Addison to legitimate the vast prospect that panoramas create - a function also invoked by his diagrammatic drawings, albeit in a radically different manner - when he quotes the British essayist's observation, "By greatness [of panoramic vista] I do not mean the bulk of any single object but the largeness of the whole view considered as en entire piece."-p20-p22

The chief example of this is the frequency with which designers whi create charts and other graphics employ the word "panorama" to emphasize ways of differentiating macro-elements, or what they call "overview," "vista," and "prospects," from the necessary micro-pieces of information, or "texture," they are required to communicate.-p23

While Lombardi's intense response to the information he discovered about widespread S&L fraud and the alarming role of money laudering in world affairs was the catalyst for the subject matter of his drawings.......This crude drawing, an elaborate flowchart grahically depicting the network of twenty-three offshore shell corporations and nonprofit organizations that North had organized under the code name "Project Democracy".......the conscieness and effectiveness with which even North clumsy diagram conveyed the intricacyof his crimes may well have been in the back of Lombardi's mind when he made the first sketch for what eventually became the Narrative Structures.p32

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 nd economic forces in contemporary affairs.-p47