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Kamrooz Aram.  Beyond the Borders III, 2003
Kamrooz Aram. Beyond the Borders II, 2003
Kamrooz Aram. Beyond the Borders, 2003
heirloomrug: #antique #turkish #konya #kilim #diamonds #legit
Alighiero Boetti 
Brancusi at the Art Institute of Chicago
Kamrooz Aram. Installation view at The Suburban, Oak Park, IL. January, 2013
I have long been interested in the notion of painting as decorative and have recently come to embrace this notion and the potential function of painting as “backdrop”.  Cecil Beaton’s photographs of models posing in front of Jackson Pollock paintings, which appeared in Vogue magazine in 1951, helped me to embrace the function of painting as decorative rather than push against it.   TJ Clark writes about this series: “Beaton had ideas about how the pictures and dresses matched.  He reveled in the analogy between Lavender Mist’s powdery transparency - or the transparency his lighting gave it - and of the chiffon and fan.  The fan struck a Whistlerian note.  He tweaked Irene’s black cocktail dress into a to and fro of diagonals which made it quite plausibly part of Pollock’s Autumn Rhuthm behind.  And so on.  The effects are not subtle, and did not need to be.  Hedging his bets just a little, the Vogue subeditor informed readers that ‘the dazzling and curious paintings of Jackson Pollock, which are in the photographs on these four pages, almost always cause an intensity of feelings.’”
On a recent trip to MoMA, I caught a photographer slyly shooting a model in front of various paintings in the collection.  Here you see the model posing in front of Rauschenberg’s Rebus, 1955.