Kamrooz Aram’s work is rooted in the history and practice of painting, which he expands to include collage, photography, sculptural works and exhibition design. His work engages the complicated relationship between Modernism and ornament, often with reference to non-western ornamental art, which he sees as a parallel to painting. Aram’s work sets out to renegotiate the art historical hierarchy that places these ornamental artforms in a category of value beneath fine art.
Aram’s paintings explore the ornamental potential in abstraction, while challenging the notion of ornament as superfluous form. His sculptural works evoke the display strategies of museums, especially those which house so called decorative arts. His recent exhibitions often function as works in their own right. Combining painting, sculpture, collage and exhibition design, he creates an interdependence between object and display, in an effort to reveal the significance of design and architecture in affecting the interpretation of art objects.
Kamrooz Aram (born in 1978, Shiraz, Iran) received his BFA from Maryland Institute College of Art in 2001 and MFA from Columbia University in 2003.
Recent solo and two-person exhibitions include: Privacy: An Exhibition, The Arts Club of Chicago, Chicago, IL (2022); Un Object, Un Geste, Galerie Mitterrand, Paris (2021); Lives of Forms: Kamrooz Aram and Iman Issa, Z33 House for Contemporary Art, Design & Architecture, Belgium (2021); The New Arabesque, Nature Morte, New Delhi, India (2021); Arabesque, Green Art Gallery, Dubai (2019); An Object, A Gesture, A Décor, FLAG Art Foundation, NY (2018); FOCUS: Kamrooz Aram, The Modern Art Museum of Fort Worth, TX, USA (2018); Ancient Blue Ornament, Atlanta Contemporary, Atlanta, GA, USA (2018); Kamrooz Aram, Anwar Jalal Shemza, Hales Gallery, NY, USA (2018); Ornament for Indifferent Architecture, Museum Dhondt-Dhaenens, Belgium (2017).
Recent group exhibitions include: Matisse Alive, Art Gallery of New South Wales, Sydney, Australia (2021); Field of Vision, Peter Blum Gallery, New York, USA (2021); RELATIONS: Diaspora and Painting, PHI Foundation for Contemporary Art, Montreal, Canada (2020); Some Mysterious Process: 50 Years of Collecting International Art, Art Gallery of New South Wales, Sydney, Australia (2020); Desorientalismos, Centro Andaluz de Arte Contemporáneo, Seville, Spain (2020); Fragile Frontiers: Visions on Iran’s in/visible borders, YARAT Centre, Baku, Azerbaijan (2019); Gateway: Fragments, Yesterday and Today, Gallery S, Manarat Al Saadiyat, Abu Dhabi, UAE (2019); The Crime of Adolf Loos, Axel Vervoodt, Belgium (2019); Jameel Prize 5, The Porter Gallery, The Victoria and Albert Museum, London, UK (2018); Le Musée Imaginaire, Pavillion Trab, Jaou Tunis, Tunisia (2018).
Kamrooz Aram lives and works in Brooklyn, New York.
Vivian Sky Rehberg review Kamrooz Aram and Iman Issa’s exhibition, Lives of Forms, at Z33 House for Contemporary Art, Design and Architecture, Hasselt, Belgium.
Nadine Khalil reviews Kamrooz Aram's third solo show at Green Art Gallery, Dubai.
Paul Laster reviews FOCUS: Kamrooz Aram at the Modern Art Museum of Fort Worth, Texas.
Critics' Picks: Lee Escobedo on Kamrooz Aram in FOCUS: Kamrooz Aram at The Modern Art Museum of Fort Worth, Texas.
Review of Kamrooz Aram's museum solo FOCUS: Kamrooz Aram at the Modern Art Museum of Fort Worth by Christopher Blay.
A review of Kamrooz Aram's solo Ancient Blue Ornament, curated by Daniel Fuller at Atlanta Contemporary by Jordan Amirkhani.
Critics' Picks: Paula Burleigh on Kamrooz Aram in Kamrooz Aram, Anwar Jalal Shemza at Hales Project Room, NY.
Exhibition Review of Kamrooz Aram's Recollections for a Room by Murtaza Vali.
Kamrooz Aram discusses his recent work and shows in Dubai and Belgium in an interview with Michael Stipe.
Hrag Vartanian names Kamrooz Aram's solo show Palimpsest: Unstable Paintings for Anxious Interiors as a Honorable Mention at the Top 10 Exhibitions Around the World.
Fixed Unknowns, the current exhibition on the upper level of Tribeca’s Taymour Grahne Gallery, breeds constant questioning of the image before the eyes.
Ari Akkermans review Kamrooz Aram solo exhibition Palimpsest: Unstable Paintings for Anxious Interiors on Mantle.
Christopher Lord reviews the monograph of Kamooz Aram Unstable Paintings for Anxious Interiors in May/June issue of Harper's Bazaar Art Arabia.
Ideologies and iconography are at the core of Kamrooz Aram’s oeuvre, rendered abstractly through his paintings, drawings and collages. Murtaza Vali speaks with the Iranian-born New York-based artist, who is among the winners of the Abraaj Group Art Prize 2014.
Kaelen Wilson-Goldie reviews Kamrooz Aram and Seher Shah's work in the exhibition Brute Ornament at Green Art Gallery in Bidoun Magazine.
Curated by Murtaza Vali, this exhibition of recent works by Kamrooz Aram and Seher Shah could easily be mistaken for yet another critique of modernism’s ideologies, myths, and utopian flops.