April 2018

AZIZ ART April 2018

Siah Armajani

Anselm Kiefer

Morteza Momayez

1-Siah Armajani 5-Anselm Kiefer 17-Morteza Momayez

Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari

http://www.aziz-anzabi.com

Siah Armajani Sia (Siavash) Armajani born 1939 is an Iranian-born American sculptor and architect known for his public art.

One of Armajani's important projects is located at North Shore Esplanade at St. George's Ferry Terminal, Staten Island, NY. Armajani has said:

Biography Siah Armajani, Bridge/Ramp, 1994, Stuttgart-Mitte, Innenhof der LBBW, beim Hauptbahnhof Siavash Armajani was born in 1939 in Tehran. In 1960, Armajani immigrated to the United States to attend college, as he had family living in the US.

"All buildings and all streets are ornaments. Moreover, the lighthouse and bridge gives a place to the representational arts of poetry, music, and performing. By embracing all of the arts, the lighthouse and bridge asserts its own perspective everywhere."

Siah Armajani designed the Olympic Torch presiding over the 1996 Summer Olympics in Atlanta, Georgia, United States.

He has worked on other projects such as the New York Staten Island tower and bridge, the Round Gazebo in Nice, France, and the Irene Hixon Whitney Bridge in Minneapolis, Minnesota, United States.

His 2005 work, Fallujah, is a modern take on Picasso's Guernica but has been censored in the U.S. due to its critical view of the war in Iraq.

In 2010, he won a Knight Fellow award granted by United States Artists.

An exhibition at Muelensteen Gallery in 2011 presented a dozen of Armajani's early pieces created in the years leading up to his arrival in America.

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Many employ ink or watercolor on cloth or paper, and incorporate text.

In his "Shirt" (1958), Armajani uses pencil and ink to completely cover his father's shirt in Persian script.

Several of his works are held by the Minneapolis Institute of Art.

Anselm Kiefer (born 8 March 1945) is a German painter and sculptor. He studied with Joseph Beuys and Peter Dreher during the 1970s. His worksincorporate materials such as straw, ash, clay, lead, and shellac. The poems of Paul Celan have played a role in developing Kiefer's themes of German history and the horror of the Holocaust, as have the spiritual concepts of Kabbalah.

In his entire body of work, Kiefer argues with the past and addresses taboo and controversial issues from recent history. Themes from Nazi rule are particularly reflected in his work; for instance, the painting "Margarethe" (oil and straw on canvas) was inspired by Paul Celan's well-known poem "Todesfuge" ("Death Fugue").

His works are characterised by an unflinching willingness to confront his culture's dark past, and unrealised potential, in works that are often done on a large, confrontational scale well suited to the subjects. It is also characteristic of his work to find signatures and/or names of

people of historical importance, legendary figures or historical places. All of these are encoded sigils through which Kiefer seeks to process the past; this has resulted in his work being linked with the movements New Symbolism and Neo– Expressionism.

Kiefer has lived and worked in France since 1992. Since 2008, he has lived and worked primarily in Paris and in AlcĂĄcer do Sal, Portugal.

Early life and career The son of a German art teacher,Kiefer was born in Donaueschingen two months before the end of World War II. In 1951, his family moved to Ottersdorf, and he attended public school in Rastatt, graduating high school in 1965. He entered University of Freiburg, and studied pre-Law and Romance languages.

However, after 3 semesters he switched to Art, studying at Art academies in Freiburg, Karlsruhe, and DĂźsseldorf. In Karlsruhe, he studied under Peter Dreher, an important realist and figurative painter.He received an Art degree 5 in 1969.

Kiefer moved to DĂźsseldorf in 1970. In 1971 he moved to Hornbach, in southwestern Germany, where he established a studio. He remained there until 1992; his output during this first creative time is known as The German Years. In 1992 he relocated to France.

Work Photography Kiefer began his career as a photographer with performances in which he, in paramilitary costume, mimicked the Nazi salute on various locations in France, Switzerland and Italy calling for Germans to remember and to acknowledge the loss to their culture through the mad xenophobia of the Third Reich. In 1969, at Galerie am Kaiserplatz, Karlsruhe, he presented his first single exhibition "Besetzungen (Occupations)" with a series of photographs about controversial political actions.

Painting and sculpture Kiefer is best known for his paintings, which have grown increasingly large in scale with additions of lead, broken glass, and dried flowers or plants, resulting in

encrusted surfaces and thick layers of impasto

By 1970, while studying informally under Joseph Beuys at Kunstakademie DĂźsseldorf,his stylistic leanings resembled Georg Baselitz's approach. He worked with glass, straw, wood and plant parts. The use of these materials meant that his art works became temporary and fragile, as Kiefer himself was well aware; he also wanted to showcase the materials in such a way that they were not disguised and could be represented in their natural form. The fragility of his work contrasts with the stark subject matter in his paintings. This use of familiar materials to express ideas was influenced by Beuys, who used fat and carpet felt in his works. It is also typical of the NeoExpressionist style.

Kiefer returned to the area of his birthplace in 1971. In the years that followed, he incorporated German mythology in particular in his work, and in the next decade he argued with the Kabbalah.

He went on extended journeys throughout Europe, the USA and the Middle East; the latter two journeys further influenced his work. Besides paintings, Kiefer created sculptures, watercolors, woodcuts, and photographs.

Throughout the 1970s and early 1980s, Kiefer made numerous paintings, watercolors, woodcuts, and books on themes interpreted

by Richard Wagner in his fouropera cycle Der Ring des Nibelungen (The Ring of the Nibelung).In the early 1980s, he created more than thirty paintings, painted photographs, and watercolors that refer in their titles and inscriptions to the Romanian Jewish writer Paul Celan's poem "Todesfuge" ("Death Fugue").

A series of paintings which Kiefer executed between 1980 and 1983 depict looming stone edifices, referring to famous examples of National Socialist architecture, particularly buildings designed by Albert Speer and Wilhelm Kreis.

The grand plaza in To the Unknown Painter (1983) specifically refers to the outdoor courtyard of Hitler's Chancellery in Berlin, designed

by Speer in 1938 in honor of the Unknown Soldier. In 1984–85, he made a series of works on paper incorporating manipulated blackand-white photographs of desolate landscapes with utility poles and power lines. Such works, like Heavy Cloud (1985), were an indirect response to the controversy in West Germany in the early 1980s about NATO's stationing of tactical nuclear missiles on German soil and the placement of nuclear fuel processing facilities.

By the mid-1980s, Kiefer’s themes widened from a focus on Germany's role in civilisation to the fate of art and culture in general.

His work became more sculptural and involved not only national identity and collective memory, but also occult symbolism, theology and mysticism. The theme of all the work is the trauma experienced by entire societies, and the continual rebirth and renewal in life. During the 1980s his paintings became more physical, and featured unusual textures and materials.The range of his themes broadened to include references to ancient Hebrew and Egyptian history,

as in the large painting Osiris and Isis (1985–87). His paintings of the 1990s, in particular, explore the universal myths of existence and meaning rather than those of national identity.From 1995 to 2001, he produced a cycle of large paintings of the cosmos.He also started to turn to sculpture, although lead still remains his preferred medium.

Since 2002, Kiefer has worked with concrete, creating the towers destined for the Pirelli warehouses in Milan, the series of tributes to Velimir Khlebnikov (paintings of the sea, with boats and an array of leaden objects, 2004-5), a return to the work of Paul Celan with a series of paintings featuring rune motifs (2004–6), and other sculptures. In 2006, Kiefer’s exhibition, Velimir Chlebnikov, was first shown in a small studio near Barjac, then moved to White Cube in London, then finishing in the Aldrich Contemporary Art Museum in Connecticut. The work consists of 30 large (2 x 3 meters) paintings, hanging in two banks of 15 on facing walls of an expressly constructed corrugated steel building that mimics the studio in

which they were created. The work refers to the eccentric theories of the Russian futurist philosopher/poet Velimir Chlebnikov, who invented a "language of the future" called "Zaum", and who postulated that cataclysmic sea battles shift the course of history once every 317 years. In his paintings, Kiefer’s toylike battleships—misshapen, battered, rusted and hanging by twisted wires—are cast about by paint and plaster waves. The work’s recurrent color notes are black, white, gray, and rust; and their surfaces are rough and slathered with paint, plaster, mud and clay.

In 2009 Kiefer mounted two exhibitions at the White Cube gallery in London. A series of forest diptychs and triptychs enclosed in glass vitrines, many filled with dense Moroccan thorns, was titled Karfunkelfee, a term from German Romanticism stemming from a poem by the post-war Austrian writer Ingeborg Bachmann. In The Fertile Crescent, Kiefer presented a group of epic paintings inspired by a trip to India fifteen years earlier

where he first encountered rural brick factories. Over the past decade, the photographs that Kiefer took in India "reverberated" in his mind to suggest a vast array of cultural and historical references, reaching from the first human civilization of Mesopotamia to the ruins of Germany in the aftermath of the Second World War, where he played as a boy. "Anyone in search of a resonant meditation on the instability of built grandeur", wrote the historian Simon Schama in his catalogue essay, "would do well to look hard at Kiefer’s The Fertile Crescent".

worked on book design. Early examples are typically worked-over photographs; his more recent books consist of sheets of lead layered with paint, minerals, or dried plant matter. For example, he assembled numerous lead books on steel shelves in libraries, as symbols of the stored, discarded knowledge of history. The book Rhine (1981) comprises a sequence of 25 woodcuts that suggest a journey along the Rhine River; the river is central to Germany's geographical and historical development, acquiring an almost mythic significance in works such as Wagner's Ring of the Nibelungs.

Scenes of the unspoiled river are In Morgenthau Plan (2012), the interrupted by dark, swirling pages gallery is filled with a sculpture of a that represent the sinking of the golden wheat field, enclosed in a battleship Bismarck in 1941, during five-meter-high steel cage. an Atlantic sortie codenamed Rhine Books Exercise.

Beginning in 1969 Kiefer also

Studios sculptures that correspond to Kiefer's first studio was his home monumental constructions in the in Hornbach, a large converted surrounding woodland, and brick factory. In 1991 he left serpentine excavated labyrinths Hornback to spend time with great earthy columns that traveling in Japan, Mexico and resemble stalagmites or termite India. In 1992 he established mounds. Nowhere is it clear where himself in Barjac, France, the finished product definitively where he transformed his 35stands; perhaps it is all work in hectare studio compound La progress, a monumental conceptRibaute into a Gesamtkunstwerk. art organism."

A derelict silk factory, his studio is During 2008, Kiefer left his studio enormous and in many ways is a complex at Barjac and moved to comment on industrialization. He Paris. A fleet of 110 lorries created there an extensive system transported his work to a 35,000 sq of glass buildings, archives, ft (3,300 m2) warehouse on the installations, storerooms for Périphérique in Croissy-Beaubourg, materials and paintings, outside Paris, that had once been subterranean chambers and the depository for the La corridors.

Samaritaine department Sophie Fiennes filmed Kiefer's store.Victoria Stapley-Brown studio complex in Barjac for her (August 31, 2016),Anselm Kiefer’s documentary study, Over Your studio robbed of 12 tonnes of raw Cities Grass Will Grow (2010), marble and €1.3m lead sculpture which recorded both the The Art Newspaper. A journalist environment and the artist at work. wrote of Kiefer's abandoned studio One critic wrote of the film: complex: "He left behind the great "Building almost from the ground work of Barjac – the art and up in a derelict silk factory, Kiefer buildings. A caretaker looks after it. devised an artistic project Uninhabited, it quietly waits for extending over acres: miles of nature to take over, because, as we corridors, huge studio spaces with know, over our cities grass will ambitious landscape paintings and grow.

Exhibitions In 1969, Kiefer had his first solo exhibition, at Galerie am Kaiserplatz in Karlsruhe.

Along with Georg Baselitz, he represented Germany at the Venice Biennale in 1980. He was also featured in the 1997 Venice Biennale with a one-man show held at the Museo Correr, concentrating on paintings and books.

Comprehensive solo exhibitions of Kiefer's work have been organized by the Kunsthalle Düsseldorf (1984); Art Institute of Chicago (1987); Sezon Museum of Art in Tokyo (1993); Neue Nationalgalerie in Berlin (1991); Metropolitan Museum of Art in New York (1998); Fondation Beyeler in Basel (2001); the Modern Art Museum of Fort Worth (2005); the Hirshhorn Museum and Sculpture Garden in Washington D.C. (2006); the San Francisco Museum of Modern Art and the Guggenheim Museum Bilbao (2007). In 2007, the Guggenheim Museum Bilbao presented an extensive survey of recent work.

Several of his works were exhibited

in 2009 for the first time in the Balearic Islands, in the museum Es Baluard in Palma de Mallorca. In 2012, the Art Gallery of Hamilton presented some of his paintings.London's Royal Academy of Arts mounted the first British retrospective of the artist's work in September 2014.

In 2007 Kiefer was commissioned to create a huge site-specific installation of sculptures and paintings for the inaugural "Monumenta" at the Grand Palais, Paris.With the unveiling of a triptych – the mural Athanor and the two sculptures Danae and Hortus Conclusus – at the Louvre in 2007, Kiefer became the first living artist to create a permanent sitespecific installation in the museum since Georges Braque in 1953. In 2008, Kiefer installed Palmsonntag (Palm Sunday) (2006), a monumental palm tree and 36 steel-and-glass reliquary tablets in the auditorium-gym of the First Baptist Church of Los Angeles, an enormous Spanish Gothic edifice built in 1927. The room was reconfigured to accommodate the work.

Floors were sanded to remove the basketball court's markings, and the wall for the reliquary paintings was constructed inside the space.In 2010 the piece was installed at the Art Gallery of Ontario museum in Toronto, where Kiefer created eight new panels specifically for the AGO's exhibition of this work.

In Next Year in Jerusalem (2010) at Gagosian Gallery, Kiefer explained that each of the works was a reaction to a personal "shock" initiated by something he had recently heard of.

Collections Kiefer's works are included in

numerous public collections, including the Hamburger Bahnhof, Berlin; the Museum of Modern Art and the Solomon R. Guggenheim Museum, New York; Detroit Institute of Arts, Detroit; the Tate Modern, London; the San Francisco Museum of Modern Art; the Art Gallery of Ontario, Toronto; the Albright-Knox Art Gallery, Buffalo; the Philadelphia Museum of Art; the National Gallery of Australia, Canberra; the Tel Aviv Museum of Art; and the Albertina, Vienna. The Personal life Metropolitan Museum of Art in Kiefer left his first wife and New York owns 20 of the artist’s children rare watercolors. Notable private in Germany on his move to Barjac collectors include Eli Broad and in 1992. From 2008 he lived in Andrew J. Hall.

Paris, in a large house in the Marais district, with his second wife, the Austrian Recognition photographer In 1990, Kiefer was awarded the Renate Graf, and their two Wolf Prize. In 1999 the Japan Art children. In 2017, Kiefer was Association awarded him the ranked one of the richest 1,001 Praemium Imperiale for his lifetime individuals and families in achievements. In the explanatory Germany by the monthly business statement it reads: publication Manager Magazin.

"A complex critical engagement with history runs through Anselm Kiefer's work. His paintings as well as the sculptures of Georg Baselitz created an uproar at the 1980 Venice Biennale: the viewers had to decide whether the apparent Nazi motifs were meant ironically or whether the works were meant to convey actual fascist ideas.

Kiefer worked with the conviction that art could heal a traumatized nation and a vexed, divided world.

He created epic paintings on giant canvases that called up the history of German culture with the help of depictions of figures such as Richard Wagner or Goethe, thus continuing the historical tradition of painting as a medium of addressing the world. Only a few contemporary artists have such a pronounced sense of art's duty to engage the past and the ethical questions of the present, and are in the position to express the possibility of the absolution of guilt through human effort."

In 2008, Kiefer was awarded the Peace Prize of the German Book Trade, given for the first time to a visual artist. Art historian Werner

Spies said in his speech that Kiefer is a passionate reader who takes impulses from literature for his work. In 2011 Kiefer was appointed to the chair of creativity in art at the Collège de France.

1983 – Hans-Thoma-Preis (BadenWürttemberg) 1990 – Wolf Prize in Arts 1990 – Goslarer Kaiserring 1997 – International Prize by the Jury of the 47th Venice Biennale 1999 – Praemium Imperiale (Japan) 2005 – Merit Cross 1st Class of the Order of Merit of the Federal Republic of Germany (Verdienstkreuz 1. Klasse)

2005 – Austrian Decoration for Science and Art 2008 – Peace Prize of the German Book Trade 2011 – Berliner Bär (B.Z.Kulturpreis) 2011 – Leo-Baeck-Medal, Leo Baeck Institut of New York 2017 – J. Paul Getty Medal Award

Morteza Momayez August 26, 1935 – October 25, 2005 was an Iranian graphic designer.

He was one of the founders of Iranian Graphic Design Society (IGDS) and held a membership to Alliance Graphique Internationale (AGI). He was the president of Tehran International Poster Biennial and Editor-in-chief of “Neshan”.Throughout his career, Momayez initiated many cultural institutes, exhibitions and graphic design publications.

The renowned pioneer of graphic design in Iran, Momayez received the Art & Culture Award of Excellency from the president of Iran in 2004.

Fine Art at University of Tehran in 1965 and his diploma from Ecole National Superier des Art Deco in Paris, France in 1968.

Experiences: Graphic Design Magazines: Iran Abad(1960), Ketab va Keyhan Hafteh (1961-62), Farhang (1961), Kavosh (1963-64), Negin(1965), Farhang va Zendegi (1969-78),Roudaki (1971-1978), Cinema (1974-75), Memari va Honareh Iran (1987), Kelk (1990),Neghahe No (1991-99), Sharif (1993-2001),Tasvir (1992), Silk Road (1994-95), Faslnameh Khavarmyaneh ( 1994), Goftego (1994-),Payam-e-Emrouz(19942000). Art Director and Graphic Design: Tehran International Film Festival (1973-77)

Biography Morteza Momayez was born on August 26, 1935 in Tehran, Iran .His father was Mohammad-Ali and his mother was Kochak. He got his bachelor in painting from school of

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Awards 2004 National Award of Art achievements from the Academy of Art in Tehran.

Toyama 1985/1988 Japan – Colorado International Poster Exhibition 1987 – Salon International de L’Affiche, 1986/88 France – Galleries and Museums in PUBLICATIONS Tehran – Six one – man exhibitions Books : Drawing and Painting – in Tehran .

Graphic Art in Iran – Design and Presented in NOVUM ,GermanyDesigning MODERN PUBLICITY, EnglandSigns (Cultural and Trademarks of PROJECT. M.Momayez). Plakat, Poster, Poland – GRAPHIS POSTER, Morteza Momayez Switzerland – AMERICAN Articles: Magazine lay-out Design – CINEMATOGRAPHERS,USASlogans and Titles – ARTNEWS,USA– LETTERHEADS,USA Visual Design in the Persian – GRAPHIC DESIGN, Japan – WHO IS Alphabet – a Survey of SignWHO IN GRAPHIC ART, SwitzerlandIllustration and ImaginationTOP GRAPHIC DESIGN, SwitzerlandA Short History of Poster in Iran LOGOTYPES OF THE WORLD 1970Prefaces: Catalogue of “50 Years 1983,Japan – POSTER BY MEMBERS of Graphic Arts in Iran” exhibition- OF THE ALLIANCE GRAPHIC Catalogue of “poster Art in Iran” INTERNATIONAL, 1960-1985,USA – exhibition – Catalogue of “First WORLD TRADEMARKS AND Asian Graphic Design Biennial – LOGOTYPES I, Japan- IDEA, No. 212, Tehran” exhibition – Who is Who 1989, Japan . in Graphic Art (Section of Iran) EXHIBITIONS Art Biennial Tehran-Poster Biennial Warsaw-Poster –Exhibition Cannes Poster Biennial Bruo-Poster Biennial Lahti-Bergische Lowe, W. Germany – Art Poster Gallery, Bad Durkheim, W. Germany – Triennale

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