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.
The Earth Poem from the series Homage to Mahmoud Darwish #2.
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.
That is her Image and This is the Suicide of the Lover from the series Homage to Mahmoud Darwish #1.
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.
My work attempts to maintain the tension between the object of art as an aesthetic artefact and the object of art as the subject of conceptual and reflective observation. Thus, it testifies to the way these two worlds invade one another. I work with different techniques and styles simultaneously and work in the spirit of pluralism and humanism. I want my work to resemble a cleansing and uplifting ritual in a manner not a part of Western culture, thereby opening the viewer to diverse sources and influences.
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.