| | BOOK FORMAT
Clth, 7.5 x 10.5 in. / 448 pgs / 550 color / 250 bw. PUBLISHING STATUS
Pub Date 10/23/2018
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D.A.P. Exclusive
Catalog: FALL 2018 p. 137 PRODUCT DETAILS
ISBN 9781935963196 TRADE
List Price: $65.00 CDN $87.00 GBP £57.00 AVAILABILITY
In stock | EXHIBITION SCHEDULEMinneapolis, MN
Walker Art Center, 09/09/18–12/30/18
New York
The Metropolitan Museum of Art, 02/20/19–06/02/19 | | BROWSE THE 2022 FALL CATALOG  | Preview our Fall 2022 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | Siah Armajani: Follow This LineEdited with text by Clare Davies, Victoria Sung. Text by Nazgol Ansarinia, Jadine Collingwood, Eric Crosby, Sam Durant, Barbad Golshiri, David Hodge, Valérie Mavridorakis, Slavs and Tatars, Hamed Yousefi, Siah Armajani.
 Armajani unites art and architecture, Persian calligraphy and abstract expressionism, American vernacular architecture and Russian constructivismIn Tehran, children walking home from school would scrape their pencils against the walls, tracing their paths through the city and chanting "follow this line." Siah Armajani (born 1939) recounts that this simple gesture speaks to the desire to mark one's presence in space. Siah Armajani: Follow This Line asks visitors to follow the artist across a shifting terrain, first within the context of pre-revolution Iran, and later, postwar and present-day America. Though Armajani is best known today for his works of public art—bridges, gazebos, reading rooms—located across the United States and Europe, this groundbreaking exhibition argues for a thoughtful reexamination of his studio as the site of a rich and generative practice. His works engage a range of references: from Persian calligraphy to the manifesto, letter and talisman; from poetry to mathematical equations and computer programming; from the abstract expressionist canvas to American vernacular architecture, Bauhaus design and Russian constructivism. Published to accompany Armajani's first major US retrospective, this catalog is his most comprehensive publication to date. Developed in close collaboration with the artist, it offers new scholarship on his six-decade-long career and also includes previously unpublished texts. Contributions by Nazgol Ansarinia, Sam Durant, Barbad Golshiri and Slavs and Tatars speak to Armajani's influence on a younger generation of artists based in the United States, Europe and the Middle East.
"Shirt #1" (1958) is reproduced from 'Siah Armajani: Follow This Line.'PRAISE AND REVIEWSHyperallergic Shiva Balaghi Born in Tehran and having made his home in Minneapolis, historical and familial references abound in this artist’s body of work that draws in equal measure from the arts and the sciences. For six-decades, Siah Armajani has contributed a profound philosophy on public art, helped pioneer the integration of new technologies into the arts, and mined boundaries between art and architecture. New Yorker Peter Schjeldahl A penchant for befuddling mathematical, scientific, and literary arcana can rather daunt a viewer, with installations that invite the perusal of books ranging from the hard and social sciences to poetry. Frieze Evan Moffitt Pack your eyeglasses: there’s much detail to consider here, from numerical equations to the lilting Farsi script Armajani used to cover early canvases and paper vestments. Artblog Andrea Kirsh Armajani is interested in complex, ultimately political ideas about social life and how they are variously theorized, enacted, fostered, regulated, limited, prohibited and/or represented. His work is also an ongoing search for the appropriate, artistic means to express complex ideas. It does not provide easy answers, but invites interested viewers to join the artist on the journey. |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 3/4/2019 "Fallujah" (2004–2005) is reproduced from Siah Armajani: Follow This Line, the rich and beautifully designed clothbound exhibition catalogue published to accompany the current show at the Met Breuer (en route from the Walker Art Center)—reviewed this week in Hyperallergic and The New Yorker. "Until 1999, my sculpture was participatory in the sense that I built reading rooms, reading gardens, bridges, workers' lounges, etc," the Iranian-born artist writes. "Previously, I knew architecture not as a 'thing between four walls in a spatial sense, but as a place for resting, sleeping, working.' But since then I have enclosed the sculptures so that people cannot enter; they have to walk around the sculpture and view it. Adorno's ironic statemen—'it is part of morality not to be at home in one's home'—now guides my work. Outside of these enclosed spaces, we are out of place, as though banished, estranged, expelled, or as Lukács says, experiencing a 'transcendental homelessness.'" continue to blog | ART BOOKS & MUSEUM EXHIBITION CATALOGS: FORTHCOMING AND RECENT RELEASES |  | THE MUSEUM OF MODERN ART, NEW YORKISBN: 9781633451070
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