- 1960 Born in Gyumri, Armenia. Lives inYerevan, Armenia.
- 1977 School of Fine Arts,Gyumri,Armenia.
- 1989 Armenian Pedagogical University. Drawing.
- 2008 Modern Art Museum of Armenia
- 2006 First Floor Gallery. Yerevan, Armenia
- 2003 "MIND GAMES", First Floor Gallery. Yerevan, Armenia
- 1994 Bossen Cultural Center. Saarbrucken, Germany
- 1998 JNR Gallery. Yerevan, Armenia
- 2007 – “Armenian Contemporary Art” Paris, France 2007 – “5 Armenian Artists”, Marcel, France 2007 - "Armenian Landscapes in *Contemporary Art", Schweizerland
- 2006 – “Armenian Style” Akanat Gallery, Yerevan, Armenia
- 2006 – “Art Without Borders” Havana Gallery, Oldenburg, Germany
- 2005 – Marie Pargas Art Gallery, USA
- 2005 – The Collection Of Viken Makhyan, AGBU Pasadena Center, USA
- 2005 – “Oil On Canvas” Academy gallery, Yerevan, Armenia
- 2005 – “Photo Plus” ACCEA , Yerevan, Armenia
- 2004 – “The Dynamics Of Abstract Art In Armenia” Akanat gallery, Yerevan, Armenia
- 2004-“Ackademy gallery” Festival of gallery’s, Yerevan.
- 2002-2003- William J. Bachman Gallery Beyond Icons Contemporary art in Armenia
- 2001- National Gallery of Armenia Exhibition devoted to the 1700 anniversary of Christianity in Armenia.
- 1999 "Windows to Armenia” Fourth Presbyterian Church, Chicago, Illinois, US
- 1999 "With Many Voices", Fourth Presbyterian Church, Chicago, Illinois, US
- 1998 "Inscription: Post-Factum", ACCEA, Yerevan, Armenia
- 1997 "Dreams & Visions", Westin Hotel, Chicago, Illinois, USA
- 1996 "Armenian Money Mark", TAAK Gallery, Yerevan, Armenia
- 1995 "Contemporary Art of Armenia"…80-95”Central House of Artist, Moscow, Russia
- 1992 "Armenian Post-Modernism", Moscow, Russia
- 1992 " Contemporary Armenian Artists", Gallery Vision, Kassel, Germany
- 1991 "Contemporary Art From Armenia", London, UK
- 1991 " New Academy Gallery", London, UK
- 1991 " New Tendencies in Art", Goyak Gallery, Yerevan, Armenia
- 1989 "Art of the USSR: The Past 50 Years", Madrid, Spain Catalogues
- 2007 Art contemporain d'Armenie. Paris
- 2007 5 Artistes Armeniens. Marseille, France
- 2007 Armenian Landscapes in Contemporary Art. Zurich
- 2006 Caroline Tufenkian presents Arthur Sarkissian
- 2006 Henrik Igityan Armenian palette new generation
- 2005 Galleria D’Arte Renessans Rinascimento
- 2003 Hidden Gallery Artbridge
- 2001 Vicki Hovanessian Contemporary Art presents Arthur Sarkissian
- 1995 Armenian Contemporary Art in 80-95. Moscow, Russia
- 1994 Armenian Contemporary Art. International Armenian Assemble. Moscow, Russia
- 1992 Armenian Contemporary Artists. Kassel, Germany
- 1990 USSR Art in Recent 50 years. Madrid, Spain
- By Peter Frank
In Sarkissian’s paintings what-is-known meets what-is-felt within the bounds of the picture plane. What is “felt” – embodied in Sarkissian’s painterly gestures and rich coloration – maintains its integrity, and what is “known” – concretized in the images Sarkissian finds in mass media and transfers to the heart of his artworks – continues to evince its source in widely disseminated formats such as newspapers and books. But despite this obvious polarity, Sarkissian effects a remarkably easy and unstrained flow between the felt and the known, between raw brushstroke and transferred image. Each element becomes not just a foil, but a partner, for the other. A passage lifted (not literally, as in collage, but photographically, through silkscreen) from an art history textbook or illuminated manuscript or magazine still “reports” its information, but becomes at the same time a factor in a larger composition, enmeshed in painterly incident. Meanwhile, without losing the passion invested in it by Sarkissian’s hand, such painterly incident is ordered into a certain rational structure, one that echoes the lexical coherence that photographic imagery promulgates. Sarkissian’s paintings are at once wholes and sums of parts, and they “talk” to us in several visual languages at once. Such a polyglot, polysemic art is hardly unique to Sarkissian. We see his style anticipated by Robert Rauschenberg, and before him Kurt Schwitters. We even see its textures and practices, as well as philosophical positions, reflected in the work of such disparate predecessors as Warhol, Cornell, Miro, Malevich, and, of course, Picasso. Among other things, Sarkissian demonstrates that the “collage aesthetic” – the simultaneously disjunctive and conjunctive qualities that uniquely define modern composition – remains one of 20th century art’s most significant and enduring legacies. Indeed, this collage aesthetic provides the perceptual crucible in which the dialectic described above is forged, and it defines the particular visual world in which Sarkissian finds his expression.
- Modern Art Museum of Armenia
- Various private collections