Degrees of Reading," by Khalil Baydas, a Palestinian writer, storyteller and translator. The book was published in 1924 by the Orthodox Monastery Printing House in Jerusalem and is 132 pages long.
You can view the book through this link
Part I of the book "Building Construction" by Mohamed Morsi Ismail, a professor of structural engineering at the School of Arts and Crafts in Cairo. The book was published by El-Nasr Prints in Egypt and is estimated to have been published in 1928, the year in which the book's foreword was written. The book is 301 pages long.
You can view the book through this link
A poster entitled 'One Thousand Days Into the Palestinian Intifada' issued by the Unified Information Office of the Palestine Liberation Organisation (PLO) in 1990 marking 1000 days of the Palestinian people's First Intifada. The Museum collection has one duplicate available of this poster.
Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.
Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.
Archaeology of Occupation is a 2015 body of work by artist Hazem Harb. In this collage series, Harb juxtaposes pre-Nakba (1948) photographs of Palestinian landscapes with concrete heavy masses on the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation but as a reference to modernist works of art.
Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.
Athar Jaber’s figure sculptures, primarily produced in stone, focus on degradation, humiliation, violence, fragility, and questions of beauty. Born to Iraqi parents, his sculptures reflect on violence and war and their effects on real bodies. Raised in Florence, the artist questions, by creating deformed figures, the tradition of depicting perfection and beauty in marble statues. Jaber subjects his marble sculptures to carving, sandblasting, acid, and even shooting the faceless stone busts, limbs, and figures.
Archaeology of Occupation is a 2015 body of work by artist Hazem Harb. In this collage series, Harb juxtaposes pre-Nakba (1948) photographs of Palestinian landscapes with concrete heavy masses on the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation but as a reference to modernist works of art.
Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.