Lombardi's research for the drawings, documented on nearly 14,500 index cards on display, literally maps the dark side of globalism and capitalism. His investigation of international financial scandals aligns corporations, political organizations and individuals and expresses them as a visual narrative ranging in size from small sheets of beige paper to wall-size masterpieces.
Just weeks after the Sept. 11 terrorist attack, FBI agents visited two interesting New York venues for investigation: the Whitney Museum of American Art and a Brooklyn gallery, both of which housed Lombardi's drawings. His conceptual and circular diagrams of the connections between bank, government and political associations were believed to possibly hold insight and information to the obvious cause.
According to Museum Curator and Department Coordinator Margaret Andera, many often asked Lombardi if he was scared for his life because of the information he brought attention to. "He always replied 'no'," she said, "simply because he gathered all of his information from public sources: books, newspapers, magazines to name a few."
"Lombardi once commented on the crucial, surprising and sometimes discouraging information he presented," Andera continued. "You can tell people the truth and very few will care."
Lombardi's purpose for mapping controversial information that is readily available to, but commonly overlooked by, the masses isn't completely clear. However, his idea of permeating boundaries trans-nationally and displaying the facts in a circular manner proves there is no one to blame — no center, no beginning, no end.
His first drawing was inspired by a conversation with a lawyer friend in California. Lombardi commented on bank closures in Texas, where he was residing as a curatorial assistant in Houston. His friend explained that because of the Texas closures, there were also bank closures in California. Lombardi was confused and intrigued by the series of corporate connections that tie financial institutions of the nation and globe together.
"Global Networks" is a diagrammatic, information based exhibit that can also be observed on purely artistic levels. Depending on the distance one stands from each drawing, a different interpretation can be made. Close up, the details and historical fact can be seen with ironic realism, but from a few feet back only the conceptual shape can be recognized. One can also find beauty in the relationship between the historical information and the shape it has taken. Many global scandals are melted into circular metaphoric beauty.
Now may be the last chance to see Lombardi's depiction of transnational financial truth. Milwaukee is the last stop on the "Global Networks" exhibition tour, organized and circulated by Independent Curators International, after which most of the drawings will go into storage.
Lombardi hung himself in Brooklyn five years ago at age 48. Some believe it was because of the weight of his knowledge of global truths and disaster. Regardless, his vision and graphite portrayals will undoubtedly live on.
"Mark Lombardi: Global Networks" runs through April 14 at the Milwaukee Art Museum, 700 N. Art Museum Dr., in the Koss Gallery. More information on the exhibit is available by calling 224-3220 or by visiting www.mam.org.
This article appeared in The Marquette Tribune on Feb. 3 2005.