“Draft:Pam Longobardi”的意思、由来-开放百科全书

Pam Longobardi, (1958-present) is a cross-disciplinary, socially engaged artist based in Atlanta, Georgia, where she is a Distinguished University Professor and Professor of Art at Georgia State University. Her artwork addresses the psychological relationship of humans to the natural world. It is a research-based artistic practice that involves documentation and collection, studio-based production and site-specific installation, and local engagement of site. Collectively, these aspects of her practice explore the Anthropocene as a condition of contemporary existence through the specific marker of this era, ocean-borne plastic objects.^[2]

Early life

Longobardi’s parents, an ocean lifeguard on the Jersey shore and the Delaware state diving and swimming champion, connected her from an early age to the water. Longobardi was born in 1958 in Glen Ridge, New Jersey, and moved to Atlanta in 1970 where she witnessed her neighborhood pond drained to build the high school she attended. Since then, she lived for varying time periods in Wyoming, Montana, California, and Tennessee, and worked as a firefighter and tree planter, a scientific illustrator and an aerial mapmaker, a waitress and a bartender, a collaborative printer and a color mixer.

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Artist Statement

"I have worked for the past 15 years on two-dimensional paintings and works on paper, and on installations that explore the themes of the psychological relationship of humans to nature and the physical world. This two-pronged aspect to my artistic production has enabled me to have a multitude of exhibition opportunities, ranging from galleries and museums to alternative spaces and experimental art venues in the US and abroad. I have explored the ideas from two perspectives: the philosophical (utilizing intellect in the development of self-awareness) and the phenomenological (elevating the experiential nature of existence in furthering understanding of the work of art, and by extension, the self). I often involve elements of natural phenomenon as processes in the physical construction of my work, processes such as chemical patination, light-sensitive photo imaging, magnetism, mirror reflection, after-image, and phosphorescence. My work tends to be experiential: It is never fully described through photographic documentation, such that even the paintings, done on copper and encrusted with chemical crystallization, change dramatically depending on the lighting or the angle one views them from. In fact, they are most fully experienced by looking at them from a distance and then very close up, possibly even aided by a magnifying glass. This level of exploration is invited by the physicality of the surfaces and the fact that a real chemical event has taken place on the surface. The crystallization of the patinas form a kind of fractal pattern which contains the phenomenology of nature in miniature: landslides, erosion, sedimentation, and streambed formations arise at the suprascopic level, at the visibility limits of the naked eye. These formations teach me about painting, actually how to paint chaotic forms, by revealing the invisible and underlying structure of trails, forms, and web like patterns. It is into this surface that I plant the pictures of nature, cultural imprints that claim the space, pave it over, civilize it. These pictures of nature and details of human presence populate the space as an analogy to humanity’s need to put our face on the world; the paintings then work as a kind of mapping of painting space as a domination of the universe, a transformation of nature to the fulfillment of ego and pleasure.

A mirror reflects not the self but the image of the self. In Lacanian psychoanalysis, the construction of the ego begins with the recognition of a self in the mirror. It is the point at which the world separates into the me/not me. I am interested in the idea of the positioning of the ego in an attempt to locate the self amidst the incomprensibility of the external world at large. Only a dismantling of ego merges the interior with the exterior into a non-dualistic whole world. A most telling moment of the recent past came with the completion of the Human Genome Project, the mapping of the human genetic sequence. According to the central dogma of DNA theory, humans, as the most complex organism on earth, were expected to have an enormous gene count, predicted to number 100,000. Instead, in the end, the human gene count numbered just around 30,000, just about as many genes as a mustard weed. I feel this is significant in revealing that humans are but a tiny part of a vastness beyond comprehension, connected to every weed, and no more, nor no less important."

Published works

Pam Longobardi has had over 50 solo exhibitions and 100 group exhibitions in galleries and museums in the US, China, Italy, Spain, Finland, Poland, Japan and elsewhere. Her artworks are in numerous collections, including commissions for Benziger Winery, the Hyatt Corporation, the Atlanta Hartsfield International Airport, Fulton County Medical Examiner’s Facility and First Tennessee Bank, Memphis. Her large installation “1614-1914” was included in the 2004 exhibition Birdspace at the New Orleans Contemporary Art Center, and travelling for 2 years to the Norton Museum of Art, Hudson River Museum and four other US museums.^[4]

Honours, decorations, awards and distinctions

Longobardi received a SAF\EA Visual Artist Fellowship in Painting, Tennessee Arts Commission Visual Arts Fellowship, and was artist in residence with the BAU Institute in Otranto, Italy, in Kasterlee, Belgium, and in Beijing at NY ARTS/Beijing during the 2008 Olympics. In 2005 Longobardi was named recipient of Georgia State University’s Outstanding Faculty Achievement Award, where she is Professor of Art. Pam Longobardi is the winner of the prestigious Hudgens Prize and Distinguished Professor at Georgia State University. Longobardi has been featured in National Geographic, SIERRA magazine, the Weather Channel and in exhibitions around the world.

Awards include residency fellowships at the Franz Masereel Center in Belgium and Red Cinder in Hawaii. Longobardi received a 1994 SAF Regional NEA Visual Artist Fellowship in Painting, the 1996-97 Tennessee Arts Commission Visual Arts Fellowship, and was chosen in 1996 as Alternate for the SAF/American Academy in Rome Fellowship. In 1994 she was awarded the UT Knoxville College of Arts and Sciences Faculty Excellence in Research Prize and in 1997, the Chancellor’s Award for Research and Creative Achievement.^[5]

Selected Solo Exhibits

Selected Group Exhibits

State of the Art: Discovering American Art Now, Frist Center for the Visual Arts, USA, Nashville

Beyond the Pour II: The Creative Process, Museum of Craft and Design, USA, San Francisco

Articles

[https://burnaway.org/feature/hathaway-contemporary-sets-the-bar-high/ Hathaway Contemporary Sets the Bar High]

[https://burnaway.org/review/the-high-museum-embraces-sprawl/ The High Museum Embraces "Sprawl"]

[https://burnaway.org/the-high-surveys-local-artists-in-sprawl-drawing-outside-the-lines/ The High Surveys Local Artists in “Sprawl! Drawing Outside the Lines”]

[https://burnaway.org/feature/art-science-drowning-in-a-plastic-ocean-at-the-cdc-museum/ Art & Science: Drowning in a Plastic Ocean, at the CDC Museum]

Bibliography

Camblin, Victoria. “Pam Longobardi.” Art in America, www.artinamericamagazine.com/reviews/pam-longobardi/.

“Museum of Contemporary Art Jacksonville.” Wikipedia, Wikimedia Foundation, 4 June 2018, en.wikipedia.org/wiki/Museum_of_Contemporary_Art_Jacksonville.

“Pamela Longobardi.” College of the Arts, 2 Mar. 2014, thearts.gsu.edu/profile/pamela-longobardi/.

“Pam Longobardi - 26 Artworks, Bio & Shows on Artsy.” Artsy, Artsy, www.artsy.net/artist/pam-longobardi.

Biography