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Mark Lombardi: Global Networks [Englisch] [Taschenbuch]

Robert Hobbs
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  • Taschenbuch: 136 Seiten
  • Verlag: Art Data (1. Januar 2000)
  • Sprache: Englisch
  • ISBN-10: 0916365670
  • ISBN-13: 978-0916365677
  • Größe und/oder Gewicht: 1 x 22,9 x 27,3 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 351.096 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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5.0 von 5 Sternen Leider nur in Englisch 31. Mai 2012
Von riojanas
Verschwörungstheoretiker aller Länder, vereinigt Euch! Könnt Ihr auch nach der Lektüre dieses Buches und Ihr liegt auch alle richtig! Ein "MUSS" für jeden, der dem weltweiten Finanzkapitalismus in seiner Unsteuerbarkeit nicht eben nahe steht. Lombardis Buch ist kein Mysterium, sondern ästhetisch angeordnete Realität. Wer sich diese Seiten betrachtet, sieht jede Tagesschau und liest jede Zeitung ein wenig anders...
Fazit: "Oh, mein Gott!"
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5.0 von 5 Sternen The Aesthetics of Power 10. September 2004
Von Jack Rice - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
What is so chilling about the front and back covers of MARK LOMBARDI: GLOBAL NETWORKS is not that "George W. Bush, Harken Energy, and Jackson Stephens, c. 1979-1990" (5th version, 1999) illustrates the nexus of big oil and terrorists, a notion we have become "used to," but that the direct nexus of Osama bin Laden and Big Oil is not found at Bush & Co. but at James R. Bath, whose political patronage flows not only from the Bushes but from Democrat and leading U.S. Senator (now retired) Lloyd Bentsen and his son Lan. The ability of big business to coöpt governance knows no party bounds.

The essay and annotations accompanying GLOBAL NETWORKS, by eminent art historian and critic Robert Hobbs, are a mating of the post-modernist perspective with a body of work whose subject matter happens to be the subject matter of post-modernist criticism - power structures.

Lombardi, who had been an abstract artist, became interested in the interrelationships of global players during the Savings and Loan scandal of the early nineties. At the time, he lived in Houston, so it's no surprise that he found a ripe field in the myriad, widespread and incestuous linkages of the oil industry.

Hobbs cites Herbert Marcuse as Lombardi's acknowledged aesthetical mentor. Marcuse was a "neo-Marxist" philosopher who asserted the sexual basis for class suppression in America and who became a darling of the New Left in the sixties. He has not fared well with the subsequent structuralist schools, who dismiss Marx and in turn Marcuse, and their respective dialectics, as obsolete. To me this dismissal seems wrongheaded, since it doesn't take rocket science to see, that through the mass media they control, global power networks use sex to render enervated and addled, and thus powerless, the majority they aim to subjugate and exploit. (Whether this constitutes coercion or bribery, as Hobbs asks, may be beside the point - perhaps sex is both.)

History also has come to the rescue of the New Left, since it is now generally accepted that the fall of the Soviet Union was the result of the strategic economic warfare waged by the United States in the Cold War, as predicted by New Left historians (such as Gabriel Kolko), not the inherent error of Marxism, as tory historians would have it.

As enlightening and ingenious as are Lombardi's illustrations, derived from scrupulously compiled index cards, the question occurs as to whether they rise to the level of art. The film critic Pauline Kael asserted that no matter how profound or truthful a movie, if it doesn't entertain it's no good. I believe the same applies to any work that aspires to art. Unless a picture has an aesthetic dimension, i.e. an element of beauty, it isn't art. It may be the brilliant and effective illustrations of a Norman Rockwell (who insisted he be called an illustrator) or Robert Maplethorpe, but its merits as art depend not on content but on form.

I think Lombardi was instinctively aware of this, for his Global Networks are more than just freeform flow charts but, when observed as wholes, organisms whose beauty depends not on what they mean but how they look. I'm reminded of the view of microbes through a microscope: a plague bacillus is just as beautiful as a penicillin bacillus. This dislocation between form and content, between "fictive" or "idealized" aesthetic and a given reality, between the "beautiful" aesthetic and the "ugly" reality, is at the heart of Marcuse's dialectic, upon which Lombardi has based his art.

And Lombardi's art has become painfully relevant in today's world. I say "has become," because Mark Lombardi died in 2000. I wonder if Lombardi's sense of vindication after 9/11, had he lived, would have been frustrated by his realization, that with the ascendancy of one of his "Global Networks," the Bush dynasty, the truth of art is trumped by the power of money. Perhaps, then, we must rely on faith in a future predicated on the belief, that such is not the case in the long run.

This volume, brilliantly conceived by Robert Hobbs, stands as a fitting memorial to an artist who demonstrates by his work, that the didactic can indeed be artistic, and that truth itself, whether pleasant or unpleasant, can be beautiful.
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1.0 von 5 Sternen Lombardi's Legacy Demands A Bigger Book 14. April 2009
Von B. S. Rohlfing - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
I really like Mark Lombardi's artwork, but buyer beware--the dimensions of this book are a mere 11 x 9.2 x 0.4 inches. Mr. Lombardi's work is relatively large by comparison. For this book, his pieces have been shrunk to where it is almost impossible to read what's been written in the nodes of the networks. Each featured piece is instead explained by the authors, with the occasional enlargement of a section for clarification. This seems contrary to the spirit of Mr. Lombardi's work. I was expecting this book to at least have fold-out pages, but no such luck. The artwork is completely subordinate to the authors' verbose text. So if you want to READ about Mark Lombardi and his work, and get a little information design history lesson in too, then this book will do just fine. But if you want to actually LOOK at Mark Lombardi's artwork, look elsewhere. I think I will be reselling this book.
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5.0 von 5 Sternen It's art at it's best 3. Oktober 2006
Von Mark Howard - Veröffentlicht auf
I recently saw Mark Lombardi's work at the Whitney (NYC) and was thunderstruck, not only be the content, but by the spiderweb of relationships that only great art can provide. Great art, like great comedy, shows us something, that we've been exposed to every day, in a new way that gives us insight into life. Words cannot describe the feeling, the impact, of the events listed, until you see it in his drawings. It's as though you've been allowed to crawl into the mind of a savant.
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5.0 von 5 Sternen Caveat emptor 9. Februar 2012
Von Jon Stall - Veröffentlicht auf
I agree with all the reviews that this book is a vital piece of the global puzzle and assists us in understanding the interlocking nature of our world, which is speciously disjointed and perhaps intentionally compartmentalized. I even agree with the one star review which states that a genius like mark deserved larger dimensions for his work. I believe to reiterate these points would be redundant, so i only write this review to warn people to look elsewhere to buy this book before considering the exorbitant asking prices of the vendors above. Mark's work is priceless and will continue to become scarcer because of the veracious revelations contained within them. Someday it may warrant a price above $1000, but i purchased it brand new from another site for $30. Best wishes in your search for truth.
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5.0 von 5 Sternen Essential for Information Designers 11. November 2007
Von Aaron Siegel - Veröffentlicht auf
Mark Lombardi has been a huge influence in my creative practice, but my only exposure to his work was through images online, most of which are too small to be able to read the fine details in the work. These are excellent reproductions, although you still can't read the text on some of the larger and more complex works. Also, the insight into Lombardi's background is incredibly interesting and provides many resources that influenced Lombardi's work. In short, this is the only authoritative published source for information about and a catalog of work by this artist, so don't miss out.
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