Day 2: Brush Creek Residency: Mark Lombardi Article- Research

Mark Lombardi’s Narrative Structures and Other Mappings of Power Relations

"(…) the great question today is the question of globalization, the question of the unity of the world. Globalization proposes to us an abstract universality. A universality of money, the universality of communication and the universality of power. That is the universalism today. And so, against the abstract universality of money and of power, what is the question of art, what is the function of artistic creation? 

Excerpt from Alain Badiou’s “Fifteen Theses on Contemporary Art

Mark Lombardi was considered an American Neo-Conceptualist artist. Who is known for his large-scale linear diagrams attempting which attempt to trace the financial and political power, corruption and affairs among capitalists, politicians, corporations, and governments. His work has been described as having a map like quality and is often scary in its simplisty. 


Day 2: Brush Creek Residency- Thoughts on Maps- Research

ABOUT: Maps and Networks

"More than tools of navigation, maps—like all networks—can also express the political, cultural, and religious of there creators. During the Medieval era, Christian artisans mapped out the Earth according to the body of Christ, placing Jerusalem at its center. Only when Europeans began to explore overseas, and the need for navigational maps expanded, did cartographers begin to consistently place north at the top of the map. In 1943, Uruguayan modernist Joaquín Torres García challenged this orientation with Inverted America, flipping the standard map’s perspective to encourage South American pride. More recently, Ethiopian-American artist Julie Mehretu’s dynamic, multilayered paintings feature complex networks suggestive of abstracted maps and exploding cityscapes—a visual comment on the intersections of power and the built environment."

Photo Credit: Newton Harrison & Helen Mayer Harrison


Maps are a unit of measurement, what they measure is the real question? I often think maps and grids share a kind of ideological similarity. They encompass a false since of authority. There graphs, legend, and organization make it feel when you hold a map you hold the key. Maps are paradoxically both true and false. They guild us actuarially to a destination but they over look information. I use the map in my work for both truth seeking (away to actually show a form in space or to signify real data) and as a means of creating a false semblance of order


Artist: Who Interest Me on this Subject

1. Newton Harrison & Helen Mayer Harrison



2. Jessica Rankin



3. Matthew Cusick



4. Sohei Nishino



5. Darlene Charneco


The Grid- Rosalind Krauss

When discussing modernism the article Grid by Rosalind Krauss comes to mind. The role of the grid to add a perceived precision, a kind of false logic happens when you work with the grid. Something that the grid does which is unique is that it offers no vantage point. There is not a hierarchy in form or in perspective. The grid offers a flat playing ground in which everything has the opportunity to be unified. Not better or worse, some times not even equal but rather something close to equal; the grid provides a place of integration though amalgamation. Like cogs in a machine the grid is an equalizer. Providing the viewer comfort in its uniformity and banality. Perhaps that is why we as Americans like grids so much, it feeds into our idea about manifest destiny. The grid holds optimism within its formation, a potential for something more, something better. In a sense, the grid is optimism in its highest form. Projecting a place for you to claim as and call your own. To start a new, with the hope of being better.


Essay by Rosalind Krauss