000			02013nam a2200253Ia 4500
001			3560
003			OSt
005			20241008113538.0
008			230926s9999 xx 000 0 und d
020			_a9780957693661
040			_c--
245		0	_aKamrooz Aram _b: Unstable Paintings for Anxious Interiors
260			_bGreen Art Gallery, Dubai; Anomie Publishing, UK; _c2014
300			_a80p; _c32x25cm
520			_aThis monograph on Iranian-born, Brooklyn-based painter Kamrooz Aram (b.1978) presents the Palimpsest series, which was in part inspired by graffiti on the streets of New York, and its constant painting-over by the authorities, only for it to become covered again in graffiti. The ongoing cycle of painting, covering-up and repainting in the urban environment connects with Aram’s long-standing fascination with modernism and the legacies of Abstract painting. Aram explains: “The word palimpsest derives from the Greek term for a manuscript that has been scraped down so it can be reused. However, this process of erasure is always incomplete and traces of previous layers remain visible beneath the most recent marks. I find the idea of painting as palimpsest compelling because such a painting reveals its own past.” The concept of the palimpsest in relation to Aram’s practice is explored further in the publication in texts by Eva Díaz, Professor of Contemporary Art at Pratt Institute in New York, and art historian and critic Media Farzin. As discussed in an engaging interview between the artist and critic and art historian Murtaza Vali, Aram’s interest in ‘painting as palimpsest’ evolved over years of observing and photographing walls in cities across the world, from Brooklyn and Queens to Beirut and Istanbul.
546			_aEnglish
650			_aN4390-5098 Visual Arts. Exhibitions _92
651			_aIran _91201
700			_aEva Diaz _91202
700			_aKamrooz Aram _9377
700			_aMedia Farzin _91052
700			_aMurtaza Vali _9420
942			_cBK _2lcc
999			_c3560 _d3560