On June 28 the McKnight Foundation named Siah Armjani as the 2010 recipient of the Distinguished Artist Award—an honor that recognizes individuals “who helped lay the foundation for Minnesota’s rich cultural life” and “despite opportunities to pursue their work elsewhere, they chose to stay — and by staying, they have made a difference.” And providing a foundation for the arts in Minnesota is exactly what he did. The footings were poured for his artistic practice some 50 years ago, continuing to support an enduring edifice of public art, locally and throughout the world.
Emigrating from Tehran, Iran to St. Paul, Minnesota in 1960, Armajani studied mathematics and philosophy (primarily the American transcendentalist Ralph Waldo Emerson) at Macalester College—courses that instilled in him a profound respect for history, democracy and a populist belief in the responsibility of individual actions in the public realm, major tenets of what would later become the central concerns of his artistic practice.
It was while completing his education that Armajani rented a studio in downtown Minneapolis. In his off hours he taught himself to paint, producing works of astounding power and lyricism. One of these paintings is currently hanging at the Walker Art Center in the current collection exhibition, Event Horizon. Prayer (1962) is composed of excerpts of poetry by Sufi writers Rumi and Hafez, which Armajani transcribed by hand in black ink onto canvas. Created in the abstract idiom of the time but with text instead of expressive gestures, the work connects the past to the present and the literary to the visual.
"Prayer," Siah Armajani (1962)
These ideas translated into his next body of work for which he is widely acclaimed. Turning again to American history, this time the history of the country’s vernacular architectural forms such as log cabins, barns, covered bridges, schoolhouses, and Quaker reading rooms, Armajani took his work out of the studio, the gallery, and the museum, and introduced it to the world. Numerous commissions led him to create pragmatic structures out of wood and metal, including bridges, houses, reading rooms, and various other dwellings (both ephemeral and permanent) as well as free-standing sculpture. Not interested in building monuments to his ego (or anyone else’s), he has explained, “I am interested in the nobility of usefulness. My intention is to build open, available, useful, common, public gathering places—gathering places that are neighborly.”
And what could be more neighborly (and visionary) than connecting two city parks long divided as a result of injudicious urban planning? In 1988, Armjani completed one of his most important commissions, the Irene Hixon Whitney Bridge. This 375-foot steel-truss construction spans 15 lanes of traffic, connecting the Minneapolis Sculpture Garden with the oasis that is Loring Park. The bridge has become an icon for the city as well as a metaphor for the peaceful coexistence of the diverse background and interests of the population.
Irene Hixon Whitney Bridge
Perhaps in addition to “artist,” we might more aptly describe Mr. Armajani as a bridge builder who brings individuals together, both locally and globally, for the common good. It takes a strong dose of optimism to think this way, but his work is built on it, and I am convinced.
On a personal note and on behalf of my colleagues, I want to congratulate Siah for receiving this award and for being such a good friend to the Walker over the years. It is rare to come across a person with his profound intelligence, warmth, wit, and generosity. He has given so much to this community, and has taught us so much—we are forever grateful.
Learn more about Siah Armajani’s work in the Walker collection at ArtsConnectEd.org.
Miss you Siah, so many years ago you treated me with respect and deference. You were a model of the artist as a gentleman and you were very generous. You gave us all a lesson in grace and gravitas. I’ll always remember the fear your voice would put into those poor MCAD students as you bellowed through the halls calling some kid’s project “Mickey Mouse!” in your accented speech – MICKEY MOUSE! Your work so ambitious so huge and so the captive of your vision. What’s it all about Siah is it just for the moment we live? The mirror IDS building always sticks in my memory, you were going to make a second IDS building above the actual building with mirrors and lasers etc, it was as if something impossible made possible was always the aim of your art. Like a tiny Persian painting you always created worlds with in worlds. Good luck and keep in touch you never know when you might need a portrait or a place to stop when you are out on a poetry run. Nietzsche saw poetry as a destination. So many 2 X 4′s so little time. Joseph Beuys said,” When I say slowly I mean as soon as possible.” Sounds like Siah.