Siah Armajani


Siah Armajani (b. 1939, Tehran) moved to the United States from Iran in 1960. He attended Macalester College, in Minnesota, where he studied philosophy. His sculptures, drawings and public works exist between the boundaries of art and architecture, informed by democratic and populist ideals. Armajani is recognized as a leading figure in the conceptualization of the role and function of public art, with nearly one hundred projects realized internationally since the 1960s.

The artist’s education in Western thought and philosophy began in Tehran, where he attended a Presbyterian school for Iranian students, and continued through his undergraduate years in the US. Early theoretical interests continue to influence his work, taking form in objects and architectural spaces designed in homage to literary, philosophical and political figures like Martin Heidegger, Ralph Waldo Emerson, Theodor Adorno, Ahmad Shamlou and Alfred Whitehead.

American vernacular architecture has been a consistent visual motif in Armajani’s practice, and is manifest in his public works, including bridges, gardens and outdoor structures. In the artist’s words: ‘I am interested in the nobility of usefulness. My intention is to build open, available, useful, common, public gathering places – gathering places that are neighbourly’. These concerns take form in his ongoing series titled Reading Rooms and Reading Gardens, as well as public spaces, pavilions and shelters for social exchanges or solitary meditation. Armajani’s Tombs series (1972–2016) references both American modernist and vernacular architecture, playing tribute to figures including Walt Whitman, John Berryman, Nicola Sacco and Bartolomeo Vanzetti, amongst others.

Armajani’s most celebrated public artworks are bridges, walkways and gardens, including the Irene Hixon Whitney Bridge (1988), Minneapolis; the World Financial Center’s promenade (in collaboration with Scott Burton and Cesar Pelli), Battery Park City, New York; Gazebo for Two Anarchists, Storm King Art Center, Mountainville, New York; Floating Poetry Room, Ijburg, Amsterdam; Bridge for Iowa City, University of Iowa; and numerous gardens at Villa Arson Museum, Nice. He was commissioned to design the Cauldron for the 1996 Centennial Olympic Games in Atlanta, Georgia.

The artist has been the subject of more than fifty solo exhibitions since 1978, including surveys and retrospectives at Parasol unit, London (2013); the Nelson-Atkins Museum of Art, Kansas City (2008); Musée d’art moderne et contemporain, Geneva (2007, tour); Museo Nacional Centro de Arte Reina Sofia, Madrid (1999, tour); Villa Arson, Nice (1994); Lannan Foundation, Los Angeles (1992); Kunsthalle Basel (1987); Westfälisches Landesmuseum, Münster (1987, tour); and the Institute of Contemporary Art, Philadelphia (1985). Armajani’s career retrospective, Siah Armajani: Follow This Line, was held at The Walker Art Center (9 September – 30 December 2018) and currently on view at The Metropolitan Museum of Art (The Met Breuer) from the 20th of February to the 2nd of June 2019.

His work has also been featured in group exhibitions, including Postwar: Art Between the Pacific and the Atlantic, 1945–1965, Haus der Kunst, Munich (2016); Passages in Modern Art: 1954–1966, Dallas Museum of Art (2016); Cycle Des histoires sans fin, séquence automne–hiver 2015–2016, Musée d’art moderne et contemporain, Geneva (2015); Art Expanded, 1958–1978 and Art at the Center: 75 Years of Walker Collections, Walker Art Center, Minneapolis (2014); Iran Modern, Asia Society, New York (2013); Spectacular of the Vernacular, Minneapolis Institute of Arts (2011); Word into Art: Artists of the Modern Middle East, British Museum, London (2006); Far Near Distance: Contemporary Positions of Iranian Artists, House of World Cultures, Berlin (2004); Carnegie International, Pittsburgh (1988); Skulptur Projekte Münster ’87 (1987); International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York (1984); 74th Annual American Exhibition, Art Institute of Chicago (1982); Whitney Biennial; Whitney Museum of American Art, New York (1981); 39th Venice Biennale, American Pavilion (1980); Information, Museum of Modern Art, New York (1970); and Documenta 5 (1972), 7 (1982) and 8 (1987), Kassel.

Armajani’s work is in numerous public collections, including Art Institute of Chicago; British Museum, London; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; M+, Hong Kong; Metropolitan Museum of Art, New York; Minneapolis Institute of Art; Musée d’art moderne et contemporain, Geneva; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Nelson-Atkins Museum of Art, Kansas City; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam, The Netherlands; and Walker Art Center, Minneapolis.

  • Siah Armajani
    Written Berlin: Tomb for Dietrich Bonhoeffer and Walter Benjamin
    Graphite and Ink on Mylar
    101.6 x 566.4 cm (40 x 223 in)
  • Siah Armajani
    Dictionary of Numbers
    Mixed media on paper
    48.9 x 29.8 cm (19 ¼ x 11 ¾ in)
  • Siah Armajani
    Father Has an Apple
    Watercolour and ink on cloth
    71.9 x 19.1 cm (28 x 7 ½ in)
  • Siah Armajani
    Father Has a Pear
    Watercolour and ink on cloth
    57.2 x 19.1 cm (22 ½ x 7 ½ in)
  • Siah Armajani
    Street Corner No. 2
    171.5 x 279.4 x 22.9 cm (67 ½ x 110 x 9 in)
  • Siah Armajani
    Tomb for Heidegger
    Mixed media
    175.2 x 142.2 x 254 cm (69 x 56 x 100 in)
  • Siah Armajani
    Four Bridges with Four Conditions
    Mixed media
    (a) House Above the Bridge, 26 x 45.7 x 12.1 cm (10 x 18 x 4 ¾ in); (b) House Before the Bridge, 16.5 x 45.7 x 14 cm (6 ¼ x 17 ⅞ x 5 ⅜ ); (c) House After the Bridge, 18.4 x 61 x 13.2 cm (7 ¼ x 23 ⅝ x 5 ½ in); (d) House Below the Bridge, 17.1 x 41.3 x 11.7 cm (6 ¾ x 16¼ x 4 ⅝ in)
  • Siah Armajani
    One Bedroom House
    Painted wood
    29.1 x 54 x 25.4 cm (11 ½ x 21 ¼ x 10 in)
  • Siah Armajani
    Loading Dock 2
    Plexiglass, paint and metal
    35.5 x 38.1 x 35.5 cm (14 x 15 x 14 in)
  • Siah Armajani
    Staten Island
    Balsa wood, plastic and paint
    88.2 x 135.3 x 33 cm (34 ¾ x 53 ¼ x 13 in)
  • Siah Armajani
    Stuttgart Bridge
    Bronze and paint
    17.5 x 125.4 x 31.1 cm (6 ⅞ x 49 ⅜ x 12 ¼ in)
  • Siah Armajani
    T3 Paris
    Mixed media
    27 x 45.7 x 28.3 cm (10 ⅝ x 18 x 11 ⅛ in)
  • Siah Armajani
    Gazebo for Two Anarchists: Emilio Coda and Richard Henry Dana
    Wood and steel
    24 x 30.5 x 14 cm (9 ⅜ x 12 x 23 ½ in)
  • Siah Armajani
    Morning Bridge
    Stained balsa wood
    22.2 x 137.5 x 14.3 cm (8 ¾ x 54 ⅛ x 5 ⅝ in)
  • Siah Armajani
    Oil Belongs to Us
    Ink and watercolour on paper
    48 x 33 cm (19 x 13 in)
  • 7 March 2019_Siah Armajani- making magic for the masses _ The Art Newspaper | PDF
  • 27 Feb. 2019_Hyperallergic_Languages as Bridge in the Work of Siah Armajani | PDF
  • 4 March 2019_ The New Yorker_Armajani, Siah_TheNewYorker | PDF
  • 22 February 2019_Architecure Digest_Siah Armajani Restages His Seminal Poli...Brooklyn Bridge | PDF
  • MPR News 2018 - The Complex Connections of Siah Armajani | PDF
  • Frieze 27 May 2017 | PDF
  • ArtAsiaPacific Reviews Hong Kong_May/June issue | PDF
  • Siah Armajani Ming Po Weekly April 2017 | PDF
  • Siah Armajani Sculpture Journal | PDF
  • Siah Armajani The Tomb Series Art Asia Pacific | PDF
  • Siah Armajani Inventario | PDF
  • Siah Armajani An Ingenious World Art Asia Pacific | PDF
  • Siah Armajani Return to Exile Art Asia Pacific | PDF
  • Siah Armajani Blueprint for Humanity Canvas Magazine | PDF
  • Reflections on works by Siah Armajani in the Grey Gallery's Collection | PDF
  • Siah Armajani Collateral Damage Art in America | PDF
  • Siah Armajani Modernity and Revolution Art in America | PDF
  • Siah Armajani The Poetry Garden Design Quarterly | PDF