TRUE CRIME
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Feb 8, 2013, 4:07:32 PM2/8/13
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http://spectrevision.net/2013/01/18/true-crime/
"Please consider contributing research content to the Mark Lombardi
Memorial Library. You might participate by scanning & sharing one of
the following historical titles in an appropriate file format, towards
an online searchable database of Mark's research. You might also
participate by mirroring scans online somewhere safe (fair use,
historical research) tagged #marklombardimemoriallibrary."
from the Rockefeller / MoMA collection website (who have all those
index cards locked up in the basement, available for viewing "upon
request"): "These scandals, such as Whitewater or the Vatican Bank,
were researched by Lombardi in an exhaustive manner, from a range of
sources in the public domain, the Findings then being stored in an
extensive filing card system. After establishing the key connections
and relations between powerful figures, Lombardi would then schematize
these by means of circles containing names of individuals and
organisations, joined by connecting lines. The schema is codified by
straight lines that indicate direct influence, and dotted and wavy
lines that indicate financial connections and frozen assets
respectively, as well as by the layering of black and red, indicating
lawsuits, bankruptcy and death.
CONNECTING the DOTS
http://www.youtube.com/watch?v=Xz_TfsAgvHM
http://www.artnews.com/2012/05/15/connecting-the-dots/
by Sarah Schmerler / 05/15/12
When Mark Lombardi died, at the age of 48, he left behind a
controversial body of work—large-scale, maplike drawings that chart
connections between the worlds of international banking, organized
crime, arms dealing, terrorism, oil, and government—the result of
countless hours of research distilled into spartan webs of pencil
lines and text. He also left a legacy shrouded in conjecture and
mystery. Did he take his own life in his Brooklyn apartment on the
night of March 22, 2000, or were there more insidious forces at work?
What did a woman claiming to be an FBI agent hope to find when she
called the Whitney Museum of American Art, owner of one of Lombardi’s
most epic drawings, soon after 9/11, asking to study the piece? A new
feature-length documentary, called Mark Lombardi: Death-defying Acts
of Art and Conspiracy, takes on these and other questions, and
spotlights the sinister links found in Lombardi’s art.
German director and writer Mareike Wegener worked with a small crew
for two and a half years to shoot the film, conducting interviews with
most everyone who was in some way close to Lombardi: New York–based
artists Rafael Vargas-Suarez, Greg Stone, Fred Tomaselli, and James
Siena; the owners of Brooklyn’s Pierogi Gallery, Joe Amrhein and Susan
Swenson; art historian Robert Hobbs; and Lombardi’s dry-eyed and
stunningly honest parents and siblings, in his childhood hometown
outside Syracuse, New York. “The visit to his parents was one of the
most fraught times, but also turned out to be one of the most
rewarding times of the film. All were really up front,” Wegener says.
“They were concerned with the possibility of my scandalizing things.
But if you look at Lombardi’s work,” she adds, “he’s really de-
scandalizing things. He’s putting things together in a very subtle
way, and that’s something I’m doing in the film, too.”
Wegener intersperses the interviews with archival news footage that
illustrates events detailed in the drawings—Manuel Noriega giving a
speech, Oliver North testifying before Congress at the Iran-contra
hearings, executives of the First American Bank in a great hurry to
leave a courthouse, black-hooded foreign soldiers toting guns—edited
in such a way that the clips cycle back and repeat, echoing the formal
structure of the drawings. “Mark never talked about people hijacking
planes and crashing them into buildings,” says Vargas-Suarez in the
film, referring to 9/11, “but he knew about the activities of how
these things would be financed. . . . He had a vast knowledge of the
networks that would create a scenario like this. His work was showing
you the abuses of power. And some of the same people that you see on
the news making trouble in different parts of the world—they’re all in
the works.”
MAKING POLITICALLY INCORRECT ART
http://www.steamshovelpress.com/altmedia18.html
by Uri Dowbenko / 2003
"One of the drawings called "George W. Bush, Harken Energy and Jackson
Stephens, ca 1979-90" (1999) shows the connections of James Bath, a
former CIA spook and business broker, front man for Saudi money who
connected the Bush Family and Bin Laden Family (of the Osama bin
Laden/ 9-11 legend) in shady deals in Texas and around the world.
Other drawings document the Savings and Loan (S&L) Frauds, IraqGate
Fraud (illicit sales of nuclear and biological weapons to Iraqi
kingpin Saddam Hussein with a $5 billion US Government-guaranteed
phony “agricultural loan” through the Banca Nazionale de Lavoro), Iran
Contra Fraud, and the Clinton/ Jackson Stephens Frauds. Lombardi was
an artist and an archivist, not an investigative reporter; he simply
used available material from books and newspaper articles (from the
public record) for the information “content” of his work. Viewing his
art (mostly un-inked pencil drawings) requires the ability to 1/ see
the graphics, 2/ read the names of people and corporate fronts, and
then 3/ integrate this content of networks into an epiphany about How
the Real World Works.
Historically, of course, the Harken Stock Fraud made George W. Bush
his first serious chunk of money. It should be also noted that Bath, a
former cokehead pal of George Jr., was also connected with the
notorious Bank of Credit and Commerce International (BCCI) Fraud.
Lombardi's web-like drawings show the decentralized nature of the
networks of crime and flows of global capital. The key is a multitude
of front companies, which add layers of complexity to the conspiracies
themselves. Allegedly diagnosed with bipolar disorder (manic
depression), Lombardi supposedly died from suicide (or was suicided)
in 1999 -- after two successful solo shows and just as his career was
about to go to the next level. It should also be noted that Jim
Hatfield, author of "Fortunate Son," (Soft Skull Press), a biography
of George W. Bush, which alleged that George Bush Jr. was convicted in
Texas on cocaine charges, until his record disappeared from the court
system, was also found dead by suicide in an Oklahoma motel.
Artist Mark Lombardi (1951-2000), whose business card ironically read
"Death Defying Acts of Art and Conspiracy," was found dead in his
studio, officially declared a suicide in the police report. Or as
government whistleblower Al Martin, author of "The Conspirators:
Secrets of an Iran Contra Insider" (http://www.almartinraw.com) says,
"The guy put together one chart too many." Martin was retained by
attorney Frank Rubino, defense counsel for Panamanian strongman
Antonio Noriega, to produce a chart for the courtroom, which would
explain the complex relationships between individuals and offshore
companies, etc. The 5’ x 9’ chart was topped off by a color photo of
former president George Herbert Walker Bush and Antonio Noriega
embracing one another, both giving a victory sign to the camera. It
should be noted that US troops under George Bush invaded Panama, then
hijacked Noriega to Florida, where he was convicted of drug charges.
Noriega is still in prison to this day. "When they set up this chart
in the courtroom, the judge said, what's that? We had Bush connected
to this drug operation," recalls Martin. Martin says that later CIA
operative Frank Snepp joined the defense team (Rubino himself was a
former CIA agent) and gave daily reports to George Bush Sr. on how the
trial against Noriega was proceeding. Martin says he overheard him on
the phone talking to Bush in Rubino's office. "I was real naive," says
Martin about his participation in the Noriega trial. "I made the
assumption that this is what they wanted" -- to have a flow chart of
personnel, covert operations, as well as banks and other front
companies and how the schemes actually worked. Martin notes that they
didn’t really expect him to use the real names of people and front
companies. "Investigative reporter Dave Lyons from the Miami Herald
told me this is what people can understand," Martin continues. "Graphs
and charts help the average person understand complex conspiracies
Martin jokingly concludes, "Charts and graphs -- bad. Shredders –
good."
In a video of the artist shown at the exhibition, Andy Mann asked
Lombard in February 1997, “Do you fear for your life?” Lombardi didn’t
answer the question. Instead he said, “This is a way I can map the
political and social terrain in which I live.” According to his
friends, Lombardi told them that he was being followed -- just before
his death. Lombardi also described his work as “visualized fields of
information [which] started out as corporate diagrams.” In the end,
Mark Lombardi’s contribution to culture is his relentless search for
the truth. He was a pioneer in the cartography of realpolitik, mapping
international networks of crime which include high-level government
officials and shady so-called “business” men. Lombardi’s legacy is his
depiction of geo-political realities, the essence of global criminal
conspiracies. No theory, just conspiracy –- conspiracies that continue
to haunt the planet into the 21st century.
BUYER BEWARE (LO-RES CONSPIRACY)
http://astore.amazon.com/spectrevision-20/detail/0916365670
Most helpful critical review: Lombardi's Legacy Demands A Bigger Book
"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."
MARK LOMBARDI'S LIBRARY (c. 2000)
http://web.archive.org/web/20070616060039/http://www.pierogi2000.com/flatfile/lombardi.html
http://web.archive.org/web/20070305181422/http://www.pierogi2000.com/flatfile/lombardibibliography.html
held by pierogi2000, brooklyn ny – bibliography compiled by Robert
Hobbs
[ note: if the book seems to discuss art only (versus crime), perhaps
skip it ]
Aarons, Mark and John Loftus.Unholy Trinity: How the Vatican's Nazi
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Adams, James Ring, and Douglas Frantz. A Full Service Bank: How BCCI
Stole Billions Around the World. New York, London, Toronto: Pocket
Books, a division of Simon & Schuster, Inc., 1993.
Adams, James Ring. The Big Fix: Inside the S&L Scandal: How an Unholy
Alliance of Politics and Money Destroyed America's Banking System. New
York, Chichester, Brisbane: John Wiley & Sons, Inc., 1990, rpt. 1991.
Adams, James. Bull's Eye: The Assassination and Life of Supergun
Inventor Gerald Bull. New York: Times Books, a division of Random
House, Inc., 1992.
_____. The Financing of Terror. New York: Simon & Schuster, 1984.
Adbusters 4, no. 4 (Winter 1996).
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and Works, trans. Patricia Lech. New York: Barron's 1979.
Agee, Philip. Inside the Company: CIA Diary. Harmondsworth, Middlesex,
England: Penguin Books, Ltd., 1975.
Allport, Jeff. A Guide for the Perplexed: News Production at Dow
Jones. South Brunswick, New Jersey, 1987.
Altick, Richard D. The Shows of London. Cambridge, Massachusetts and
London, England: Belknap Press, 1978.
Anarchy: A Journal of Desire Armed.
Anderson, Jack with George Clifford. The Anderson Papers. New York:
Random House, 1973.
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1958.
Arlacchi, Piño, and Antonio Calderone. Men of Dishonor: Inside the
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Bamford, James. The Puzzle Palace: A Report on America's Most Secret
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Economic Aid in Central America. New York: Grove Press: 1988.
Baudrillard, Jean. The Evil Demon of Images. Power Institute, 1987.
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the Secret Heart of BCCI. New York: Random House, 1993.
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Nixon and the Hidden Death of Howard Hughes. Maitland, Ontario and
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Connection. New York, Toronto, London: Franklin Watts, 1985.
Faith, Nicholas. Safety in Numbers: The Mysterious World of Swiss
Banking. New York: The Viking Press, 1982.
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Friedman, Alan. Spider's Web: The Secret History of How the White
House Illegally Armed Iraq. New York, Toronto, London: Bantam Books,
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Road in the Former Soviet Union. Canada: Alfred A. Knopf, 1997.
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"Please consider contributing research content to the Mark Lombardi
Memorial Library. You might participate by scanning & sharing one of
the following historical titles in an appropriate file format, towards
an online searchable database of Mark's research. You might also
participate by mirroring scans online somewhere safe (fair use,
historical research) tagged #marklombardimemoriallibrary."
from the Rockefeller / MoMA collection website (who have all those
index cards locked up in the basement, available for viewing "upon
request"): "These scandals, such as Whitewater or the Vatican Bank,
were researched by Lombardi in an exhaustive manner, from a range of
sources in the public domain, the Findings then being stored in an
extensive filing card system. After establishing the key connections
and relations between powerful figures, Lombardi would then schematize
these by means of circles containing names of individuals and
organisations, joined by connecting lines. The schema is codified by
straight lines that indicate direct influence, and dotted and wavy
lines that indicate financial connections and frozen assets
respectively, as well as by the layering of black and red, indicating
lawsuits, bankruptcy and death.
CONNECTING the DOTS
http://www.youtube.com/watch?v=Xz_TfsAgvHM
http://www.artnews.com/2012/05/15/connecting-the-dots/
by Sarah Schmerler / 05/15/12
When Mark Lombardi died, at the age of 48, he left behind a
controversial body of work—large-scale, maplike drawings that chart
connections between the worlds of international banking, organized
crime, arms dealing, terrorism, oil, and government—the result of
countless hours of research distilled into spartan webs of pencil
lines and text. He also left a legacy shrouded in conjecture and
mystery. Did he take his own life in his Brooklyn apartment on the
night of March 22, 2000, or were there more insidious forces at work?
What did a woman claiming to be an FBI agent hope to find when she
called the Whitney Museum of American Art, owner of one of Lombardi’s
most epic drawings, soon after 9/11, asking to study the piece? A new
feature-length documentary, called Mark Lombardi: Death-defying Acts
of Art and Conspiracy, takes on these and other questions, and
spotlights the sinister links found in Lombardi’s art.
German director and writer Mareike Wegener worked with a small crew
for two and a half years to shoot the film, conducting interviews with
most everyone who was in some way close to Lombardi: New York–based
artists Rafael Vargas-Suarez, Greg Stone, Fred Tomaselli, and James
Siena; the owners of Brooklyn’s Pierogi Gallery, Joe Amrhein and Susan
Swenson; art historian Robert Hobbs; and Lombardi’s dry-eyed and
stunningly honest parents and siblings, in his childhood hometown
outside Syracuse, New York. “The visit to his parents was one of the
most fraught times, but also turned out to be one of the most
rewarding times of the film. All were really up front,” Wegener says.
“They were concerned with the possibility of my scandalizing things.
But if you look at Lombardi’s work,” she adds, “he’s really de-
scandalizing things. He’s putting things together in a very subtle
way, and that’s something I’m doing in the film, too.”
Wegener intersperses the interviews with archival news footage that
illustrates events detailed in the drawings—Manuel Noriega giving a
speech, Oliver North testifying before Congress at the Iran-contra
hearings, executives of the First American Bank in a great hurry to
leave a courthouse, black-hooded foreign soldiers toting guns—edited
in such a way that the clips cycle back and repeat, echoing the formal
structure of the drawings. “Mark never talked about people hijacking
planes and crashing them into buildings,” says Vargas-Suarez in the
film, referring to 9/11, “but he knew about the activities of how
these things would be financed. . . . He had a vast knowledge of the
networks that would create a scenario like this. His work was showing
you the abuses of power. And some of the same people that you see on
the news making trouble in different parts of the world—they’re all in
the works.”
MAKING POLITICALLY INCORRECT ART
http://www.steamshovelpress.com/altmedia18.html
by Uri Dowbenko / 2003
"One of the drawings called "George W. Bush, Harken Energy and Jackson
Stephens, ca 1979-90" (1999) shows the connections of James Bath, a
former CIA spook and business broker, front man for Saudi money who
connected the Bush Family and Bin Laden Family (of the Osama bin
Laden/ 9-11 legend) in shady deals in Texas and around the world.
Other drawings document the Savings and Loan (S&L) Frauds, IraqGate
Fraud (illicit sales of nuclear and biological weapons to Iraqi
kingpin Saddam Hussein with a $5 billion US Government-guaranteed
phony “agricultural loan” through the Banca Nazionale de Lavoro), Iran
Contra Fraud, and the Clinton/ Jackson Stephens Frauds. Lombardi was
an artist and an archivist, not an investigative reporter; he simply
used available material from books and newspaper articles (from the
public record) for the information “content” of his work. Viewing his
art (mostly un-inked pencil drawings) requires the ability to 1/ see
the graphics, 2/ read the names of people and corporate fronts, and
then 3/ integrate this content of networks into an epiphany about How
the Real World Works.
Historically, of course, the Harken Stock Fraud made George W. Bush
his first serious chunk of money. It should be also noted that Bath, a
former cokehead pal of George Jr., was also connected with the
notorious Bank of Credit and Commerce International (BCCI) Fraud.
Lombardi's web-like drawings show the decentralized nature of the
networks of crime and flows of global capital. The key is a multitude
of front companies, which add layers of complexity to the conspiracies
themselves. Allegedly diagnosed with bipolar disorder (manic
depression), Lombardi supposedly died from suicide (or was suicided)
in 1999 -- after two successful solo shows and just as his career was
about to go to the next level. It should also be noted that Jim
Hatfield, author of "Fortunate Son," (Soft Skull Press), a biography
of George W. Bush, which alleged that George Bush Jr. was convicted in
Texas on cocaine charges, until his record disappeared from the court
system, was also found dead by suicide in an Oklahoma motel.
Artist Mark Lombardi (1951-2000), whose business card ironically read
"Death Defying Acts of Art and Conspiracy," was found dead in his
studio, officially declared a suicide in the police report. Or as
government whistleblower Al Martin, author of "The Conspirators:
Secrets of an Iran Contra Insider" (http://www.almartinraw.com) says,
"The guy put together one chart too many." Martin was retained by
attorney Frank Rubino, defense counsel for Panamanian strongman
Antonio Noriega, to produce a chart for the courtroom, which would
explain the complex relationships between individuals and offshore
companies, etc. The 5’ x 9’ chart was topped off by a color photo of
former president George Herbert Walker Bush and Antonio Noriega
embracing one another, both giving a victory sign to the camera. It
should be noted that US troops under George Bush invaded Panama, then
hijacked Noriega to Florida, where he was convicted of drug charges.
Noriega is still in prison to this day. "When they set up this chart
in the courtroom, the judge said, what's that? We had Bush connected
to this drug operation," recalls Martin. Martin says that later CIA
operative Frank Snepp joined the defense team (Rubino himself was a
former CIA agent) and gave daily reports to George Bush Sr. on how the
trial against Noriega was proceeding. Martin says he overheard him on
the phone talking to Bush in Rubino's office. "I was real naive," says
Martin about his participation in the Noriega trial. "I made the
assumption that this is what they wanted" -- to have a flow chart of
personnel, covert operations, as well as banks and other front
companies and how the schemes actually worked. Martin notes that they
didn’t really expect him to use the real names of people and front
companies. "Investigative reporter Dave Lyons from the Miami Herald
told me this is what people can understand," Martin continues. "Graphs
and charts help the average person understand complex conspiracies
Martin jokingly concludes, "Charts and graphs -- bad. Shredders –
good."
In a video of the artist shown at the exhibition, Andy Mann asked
Lombard in February 1997, “Do you fear for your life?” Lombardi didn’t
answer the question. Instead he said, “This is a way I can map the
political and social terrain in which I live.” According to his
friends, Lombardi told them that he was being followed -- just before
his death. Lombardi also described his work as “visualized fields of
information [which] started out as corporate diagrams.” In the end,
Mark Lombardi’s contribution to culture is his relentless search for
the truth. He was a pioneer in the cartography of realpolitik, mapping
international networks of crime which include high-level government
officials and shady so-called “business” men. Lombardi’s legacy is his
depiction of geo-political realities, the essence of global criminal
conspiracies. No theory, just conspiracy –- conspiracies that continue
to haunt the planet into the 21st century.
BUYER BEWARE (LO-RES CONSPIRACY)
http://astore.amazon.com/spectrevision-20/detail/0916365670
Most helpful critical review: Lombardi's Legacy Demands A Bigger Book
"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."
MARK LOMBARDI'S LIBRARY (c. 2000)
http://web.archive.org/web/20070616060039/http://www.pierogi2000.com/flatfile/lombardi.html
http://web.archive.org/web/20070305181422/http://www.pierogi2000.com/flatfile/lombardibibliography.html
held by pierogi2000, brooklyn ny – bibliography compiled by Robert
Hobbs
[ note: if the book seems to discuss art only (versus crime), perhaps
skip it ]
Aarons, Mark and John Loftus.Unholy Trinity: How the Vatican's Nazi
Networks Betrayed Western Intelligence to the Soviets. New York: St.
Martin's Press, 1991.
Aburish, Saïd K. The Rise, Corruption, and Coming Fall of the House of
Saud. New York: St. Martin's Griffin, 1994, rpt. 1996.
Adams, James Ring, and Douglas Frantz. A Full Service Bank: How BCCI
Stole Billions Around the World. New York, London, Toronto: Pocket
Books, a division of Simon & Schuster, Inc., 1993.
Adams, James Ring. The Big Fix: Inside the S&L Scandal: How an Unholy
Alliance of Politics and Money Destroyed America's Banking System. New
York, Chichester, Brisbane: John Wiley & Sons, Inc., 1990, rpt. 1991.
Adams, James. Bull's Eye: The Assassination and Life of Supergun
Inventor Gerald Bull. New York: Times Books, a division of Random
House, Inc., 1992.
_____. The Financing of Terror. New York: Simon & Schuster, 1984.
Adbusters 4, no. 4 (Winter 1996).
Adríani, Götz, Winfried Konnertz, and Karin Thomas. Joseph Beuys: Life
and Works, trans. Patricia Lech. New York: Barron's 1979.
Agee, Philip. Inside the Company: CIA Diary. Harmondsworth, Middlesex,
England: Penguin Books, Ltd., 1975.
Allport, Jeff. A Guide for the Perplexed: News Production at Dow
Jones. South Brunswick, New Jersey, 1987.
Altick, Richard D. The Shows of London. Cambridge, Massachusetts and
London, England: Belknap Press, 1978.
Anarchy: A Journal of Desire Armed.
Anderson, Jack with George Clifford. The Anderson Papers. New York:
Random House, 1973.
Arendt, Hannah. The Origins of Totalitarianism. Cleveland and New
York: Meridian Books, The World Publishing Company, 1951, 2nd ed.,
1958.
Arlacchi, Piño, and Antonio Calderone. Men of Dishonor: Inside the
Sicilian Mafia, trans. Marc Romano. New York: Morrow, 1993.
Arostegui, Martin C. Twilight Warriors: Inside the World's Special
Forces. New York: St. Martin's Press, 1995.
Baker, Bobby, with Larry L. King. Wheeling and Dealing: Confessions of
a Capitol Hill Operator. New York: W.W. Norton & Company, Inc., 1978.
Bamford, James. The Puzzle Palace: A Report on America's Most Secret
Agency. New York: Penguin Books, Ltd., 1983.
Barry, Tom and Deb Preusch. The Soft War: The Uses and Abuses of U.S.
Economic Aid in Central America. New York: Grove Press: 1988.
Baudrillard, Jean. The Evil Demon of Images. Power Institute, 1987.
Beaty, Jonathan, and S.C. Gwynne. The Outlaw Bank: A Wild Ride into
the Secret Heart of BCCI. New York: Random House, 1993.
Bellett, Gerald. Age of Secrets: The Conspiracy that Toppled Richard
Nixon and the Hidden Death of Howard Hughes. Maitland, Ontario and
Ogdensburg, New York: Voyageur North America, 1995.
Bianco, Anthony. The Reichmanns: Family, Faith, Fortune, and the
Empire of Olympia & York. New York: Times Books, Random House, 1997.
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