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Persian Style and Western Iconography in Recent Drawings of Siah Armajani

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Abstract:

Siah Armajani is best known for his public sculptures, in which he uses the language of architecture to create sculptural environments. Fiercely dedicated to the ideals of Jeffersonian democracy, Armajani is a naturalized U.S. citizen originally from Iran. He says he wants to create “neighborly” sculptural spaces--spaces in which we encounter one another, democratic spaces that bring people together. His garden at Battery Park esplanade in New York City and the Olympic bridge and torch he designed for the 1996 Centennial Olympics in Atlanta are probably his most familiar work to people outside the somewhat rarified world of contemporary art. His sculpture does not appear to be influenced by the art of his country of origin.

Much less well-known are his two-dimensional works in water color, collage, and colored pencil, which he has produced throughout his career , and through which he has tried to reestablish ties with his country of origin by employing stylistic traditions derived from Persian painting. After various attempts to integrate aspects of traditional Persian painting into his two-dimensional work in the 1980s and 1990s, Armajani decisively gave himself over to Iranian stylistic traditions in his large pendant pieces "Poetry Garden: Summer and Winter," of 1999, executed in colored pencil on Mylar. As the style is derived from Persian miniatures (albeit in a much larger format), the iconography of the garden also finds its prototypes in traditional Iranian painting.

Following this breakthrough he expanded his visual vocabulary to other subjects--primarily architectural settings--iconography influenced by the industrial landscapes of Charles Sheeler and the enigmatic early works of Giorgio De Chirico, within the overall stylistic language derived from Persian painting.
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Name: The American Studies Association
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http://www.theasa.net


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MLA Citation:

Raverty, Dennis. "Persian Style and Western Iconography in Recent Drawings of Siah Armajani" Paper presented at the annual meeting of the The American Studies Association, Philadelphia Marriott Downtown, Philadelphia, PA, Oct 11, 2007 <Not Available>. 2013-12-15 <http://citation.allacademic.com/meta/p185720_index.html>

APA Citation:

Raverty, D. , 2007-10-11 "Persian Style and Western Iconography in Recent Drawings of Siah Armajani" Paper presented at the annual meeting of the The American Studies Association, Philadelphia Marriott Downtown, Philadelphia, PA <Not Available>. 2013-12-15 from http://citation.allacademic.com/meta/p185720_index.html

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Siah Armajani is best known for his public sculptures, in which he uses the language of architecture to create sculptural environments. Fiercely dedicated to the ideals of Jeffersonian democracy, Armajani is a naturalized U.S. citizen originally from Iran. He says he wants to create “neighborly” sculptural spaces--spaces in which we encounter one another, democratic spaces that bring people together. His garden at Battery Park esplanade in New York City and the Olympic bridge and torch he designed for the 1996 Centennial Olympics in Atlanta are probably his most familiar work to people outside the somewhat rarified world of contemporary art. His sculpture does not appear to be influenced by the art of his country of origin.

Much less well-known are his two-dimensional works in water color, collage, and colored pencil, which he has produced throughout his career , and through which he has tried to reestablish ties with his country of origin by employing stylistic traditions derived from Persian painting. After various attempts to integrate aspects of traditional Persian painting into his two-dimensional work in the 1980s and 1990s, Armajani decisively gave himself over to Iranian stylistic traditions in his large pendant pieces "Poetry Garden: Summer and Winter," of 1999, executed in colored pencil on Mylar. As the style is derived from Persian miniatures (albeit in a much larger format), the iconography of the garden also finds its prototypes in traditional Iranian painting.

Following this breakthrough he expanded his visual vocabulary to other subjects--primarily architectural settings--iconography influenced by the industrial landscapes of Charles Sheeler and the enigmatic early works of Giorgio De Chirico, within the overall stylistic language derived from Persian painting.

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