Post Apocalyptic Tattoo, an exhibit of reverse paintings, sculptures, prints and drawings by New York artist D. Dominick Lombardi, will be on display at the Housatonic Museum of Art September 24 - October 23, 2009.

The artwork presents a view of the future, as filtered through the designs of a tattoo artist. The significant mutations seen in the anatomy of the various characters depicted in the works are the result of centuries of exposure to transgenics in foods and various pollutants.

“Dominick’s works show severely damaged characters who have survived a horrific environmental apocalypse,” said Robbin Zella, director of the Housatonic Museum of Art. “His dark vision certainly asks us to stop and reflect on his message,” she said.

“The project is rooted in Lombardi’s concern about the fate of the planet,” she said. “His work, as he says, is about 'where we're headed as a species in this world in which humans are guinea pigs in a larger experiment and grab for power and money run by sinister enterprises,’” she said. “Indeed, they are victims of a slow apocalypse, being altered by degrees over time.”

His mutant creatures include Blue Boy, whose innards spill down his legs; his sweetheart, the rubbery-boned, turquoise-lipped Twister; Big Foot, who perambulates on a single massive foot; and Clown, who dies early on in the story from an enlarged hair follicle on his tongue. Nonetheless, they show an enthusiasm for life that belies their infirmities, making the best of a truly bad situation.

Central to the tale is the unseen Tattoo Artist, whom Dominick channels and chronicles by producing all these drawings, paintings, and sculptures. Lombardi is the medium by which Tattoo Artist is made visible.

“Are you the Tattoo Artist?” Dominick was asked once. “No,” he said. “I’m the vehicle for the Tattoo Artist who’s sending these images to me.”

Click on images for larger version ...

© Christian Marclay
Telephones, 1995, Video
Duration: 7 minutes 30 seconds
Courtesy Paula Cooper Gallery, New York, and White Cube

© Adam McEwen
Untitled Text Msg (David), 2007
Matte black adhesive vinyl on wall
25 x 25 inches
Courtesy of Nicole Klagsbrun Gallery

© Lukas Geronimas
Nickname Game, 2008
Mixed media, interactive project
Courtesy of the Artist

“It’s for you,” Conceptual Art and the Telephone

February 24 - March 25, 2011
In the Burt Chernow Galleries

RECEPTION: Thursday, March 3 from 5 - 8 p.m.

This exhibition is supported in part by the Connecticut Commission on Culture and Tourism, which receives support from the National Endowment for the Arts, the Werth Famiy Foundation, and Bob Schneider of Jimmy's Apparel.

Artists Include: John Cage, T Foley, Lukas Geronimas, Peter Greenaway, Jonn Herschend, Jeremy LeClair, Christian Marclay, Adam McEwen, Max Neuhaus, Yoko Ono, Robert Peters, Pietro Pellini, Rachel Perry Welty, and Hannah Wilke.

Inspired by the Housatonic Museum of Art’s (HMA) most immediate audience, our students at Housatonic Community College, the HMA has curated “It’s for you,” Conceptual Art and the Telephone.  The exhibition is, in part, a response to the wide-ranging use of phones in the hallways and other areas on campus.  Each day students text, talk, surf the net, and listen to music on their phones.  With this exhibition, artworks that use the phone as an artistic medium or mediator are brought together in an original exhibition curated by Terri C. Smith. 

The projects range from the late 1960s to today and include sound pieces, videos, and objects that resonate with the functions, technologies, and physicality of the telephone. Artists in the exhibition include: T. Foley, Lukas Geronimas, Jeremy LeClair, Christian Marclay, Yoko Ono, Rachel Perry Welty, Robert Peters, Pietro Pellini, and Hannah Wilke.

Many of the artists in “It’s for you” aim to democratize the artist/audience relationship, a quality that is intricately woven into the history of conceptual art.  In “It’s for you” Yoko Ono might call the gallery as part of her Telephone Piece, providing direct contact between artist and “viewer.”  Students will work with T Foley, creating their own ring tones as part of her Locally Toned project. Archival materials are also included as a way to represent ephemeral works from the past as with Robert Peters’ Naming Others: Manufacturing Yourself (1993) where the artist asked people to call an 800 number from pay phones and choose which stereotyping phrase described them best.

“It’s for You” harnesses the familiarity of the telephone as a way of introducing audiences to a variety of conceptual art practices, which often include a mix of art theory and social critique. The exhibition, consequently, endeavors to connect concerns found in contemporary art with the objects, communication habits, and changing technologies in our daily lives.  In that spirit, visitors and students will be encouraged to comment on the exhibition using telephone-friendly interfaces such as Twitter.