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349:. The development of her work over the past fifty years has been closely related to locating the many principles of abstraction in nature utilizing a materialist approach. A number of her paintings have been created by building upon the methods and forms of certain historical applications of abstraction, such as that of the Russian Constructivists, and examples of traditional Arabic arts and Islamic architecture. The visual culture of Palestine and its natural setting have also figured into her paintings, as has the dynamism of New York City as experienced in the sights of people in motion and its busy streets
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434:, Halaby understood the failures of perspective. She wanted to know exactly what it is we see when our eye travels over the surface of a spherical or cylindrical object, reaches the edge and then jumps to a far background. Finding no answers, Halaby realized that how we see is educated. Over millennia, artists have contributed the multitude of small discoveries that created the monument of visual culture that teaches us how to see—what Halaby calls "visual conjugation." This then became, to Halaby, the important challenge as she insisted that painting is exploration not performance.
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carefully shaded cylinder if it extended outside the perimeter of the painting on both ends? The information on the depth of the cylinder would be so concretely provided by the circular ends and would not be visible. The result was that scale became relative and the space of the paintings could easily be read as variedly colored horizons such as one might see out of the window of an airplane. Geometry and the convergence of measurements continued to dominate her thoughts.
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309:. She is the daughter of Asaad Halaby and Foutonie Atallah Halaby. Samia has two older brothers, Dr. Sami and Dr. Fouad Halaby, and a younger sister, Dr. Nahida Halaby. Their father was orphaned and, at a young age, had the financial responsibility of supporting his siblings thrust upon him. He began the first taxi service in Jerusalem in the early 1900s, eventually becoming a principal of Lind & Halaby Ltd., a seller of the
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and composition as well as the paintings perimeter all participated in this process of growth. Halaby was beginning to find her way through a new way of seeing and a new way of making abstract paintings, one that imitates the principles of nature not its appearance. Her work became more apparent in freely moving gestures and her more generally more intuitive in execution while her ideas remained strongly structures.
785:, Tex Kerschen, and Gabriel Delgado. Halaby actively assisted the curators in researching Palestinian artists, both in the US and the Arab world, introducing them to such artists as the late Mustapha Hallaj in Syria and Abdul Hay al Mussalam in Jordan, for example. The first museum exhibition of Palestinian art to be held in the US, "Made in Palestine" (2003) went on to tour throughout the country.
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The ways in which bridges crossed rivers, at right angles then bend according to land formation also formed a part of the inspiration. Halaby determined that her paintings, to be as beautiful as nature, had to grow according to principles extracted from nature. Thus what is unique in this series is that it is based on the process of growth she observed in nature.
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Palestinian condition. In 2011, the
Palestinian conceptual artist Khalil Rabah included a portrait of Halaby for his large-scale project of "ready mades" that stood as a "subjective" overview of contemporary Palestinian art history. Rabah's portrait is based on a photograph from the artist's archive that was taken at one of her first exhibitions in the 1960s.
393:. In terms of shape, the work depended essentially on the rectangular surfaces of human life, be they walls, windows, writing paper, floors, cards, or gently hung weavings. The variety of scale and placement was clearly an abstraction from ways of examining the world we see. During that short span, Halaby left Bloomington to teach in Honolulu at the
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Early in 1990, Halaby reviewed her entire practice and concluded that it was time to create space in the painting, relying only on brush marks as the building blocks of the work. Early in the 1980s she had removed shading and perspective; now she removed shape. Allowing only the distribution of brush
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A few years later, during the early 1990s, Halaby began programing on a PC, converting the keyboard into an abstract painting piano. This program was also called
Kinetic Painting and was not published but remained the artist's private tool. She used it to perform live with musicians. Multi-percussion
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Ideas regarding imitating principles of growth dominated her creativity during the 1980s. She began to allow lines and shapes to actively change each other. A shape that is intersected by a line might divide itself into two. A line that received a shape may mirror itself in the shape's outline. Color
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New references to how we see began to emerge. Halaby often talked about how our eyes shift focus from place to place while we walk and examine our surroundings. Thus how we look and not what we look at became the subject of the painting. As viewers see distribution of brush marks in a painting, they
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Having been fascinated by computing since her days as a graduate student at
Indiana University, Halaby began to focus on the relationship of art to the technology of its time. After retiring from teaching, Halaby began experimenting with electronic art forms during the 1980s, teaching herself how to
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Halaby noticed that human building was dominated by the right angle, but that in the growth of highways and city blocks those right-angled rectangles were often disturbed and thus truncated by the necessities imposed by natural land formations. They resembled the cells between veins in a maple leaf.
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series. The title had occurred to her while watching children play with arms outstretched while running, making engine sounds, pretending to be airplanes. She had been wondering to which direction the diagonal horizons of her new paintings should lean. The children, being mostly right-handed, banked
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Her approach to abstraction has ranged from works exploring the visual properties of the geometric still life to free-form paintings in the form of collaged pieces of canvas that are joined to create larger abstractions that are free from the stretch. As of 2020, her oeuvre contained more than 3,000
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Hanging
Gardens grew from Halaby's "free of the stretcher" painting where Halaby would cut parts of painted canvas and recombine them. Here, a need to collage the parts led to stitching them. Methods of attaching consecutive parts led to sensations of tree leaves and branches grew. "I was so deeply
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Although still cognizant of the commitment to pursue the idea of conjugation emanating from the geometric still lifes, Halaby was testing the irrationality of perspective and shading by creating an accurately shaded space that we cannot read according to our educated skills. How would viewers see a
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As the
Geometric Still Life series had satisfied her curiosity, Halaby found herself at a critical point on her artistic path. She felt that she could explore one of two directions, either focus on the individual and the self or life outside. She tested the first direction by doing a portrait of a
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and later on a PC. Creating programs that would allow viewers to witness the process of live computerized painting, she enlisted the help of musicians for kinetic art performances that were inspired by jam sessions. Her "Kinetic
Painting Group" toured extensively in the late 1990s, and video works
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was created around a taped interview with the artist. Al Beik includes Halaby's own footage of a trip to the West Bank, in which she narrates her stay there and later documents a trip to her grandmother's apartment in
Jerusalem. This is interwoven with Al Beik's own sequences exploring the modern
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Beginning with her relationship with the Ayyam gallery, Halaby began to rely on her intuitions attempting to exploit the whole of her experience without demanding that growth be a known process or planned exploration. Echoes of all that she had learnt on a long journey appeared in canvases larger
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Over a long and fertile career, Samia Halaby has always kept the picture plane and its perimeter in focus as a primary compositional player. She now begins to contemplate its removal. The result was a series of works free of the stretcher. Previously painted pieces of canvas were cut and reformed
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As a point of reference, Halaby had purchased several used books on geometry, with some devoted to pipe fitting. A book that showed how to cut flat shapes that could make complex three-dimensional pipe fittings led her to fascination in plotting helical and later cycloid curves. Halaby would plot
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Based in New York since the 1970s, Halaby has long been active in the city's art scene, mainly through independent and non-profit art spaces and artist-run initiatives. In addition, she has participated in leftist political organizing for various causes. She has long been an activist and in 2019
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series. Instead of experimenting with new directions, she stopped painting entirely for a short period then painted profusely, most of which she ultimately destroyed. It was an important pivotal moment where she shifted into the second broad phase of her artistic life, that of abstraction. In
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and his use of light and color in portraiture, and was particularly impressed with the Old Master collection at the Kansas City Museum. After an extended and frustrating exploration, a small orange on a windowsill captured Halaby's attention and started the new series. This inspiration can be
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through stitching. Paint was applied before and after cutting and to both sides of the canvas fragments. The separate pieces were often treated like paintings in their own right. While aggregating the pieces she often felt inspired by the beauty of how leaves build to make magnificent trees.
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After 1965, a scientific attitude of exactly how we observe and interpret what we see overtook her. She has written, "I began to feel that I must make a clean, new beginning and erase my teachers and my past out of my thoughts." At this point, Halaby relied on what she saw at museums and her
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as presenting "the work of 16 contemporary
Palestinian artists that even the least informed of viewers are likely to come away with the sense that they have seen and grasped something important." The review went on to congratulate DePaul Art Museum for its "incisive presentation".
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musician, Kevin
Nathaniel Hylton became her main collaborator as she began the public performance process utilizing her program. With musician Hasan Bakr they formed the Kinetic Painting Group and performed at numerous off-Broadway venues often accompanied by other musicians.
573:. Her focus on the cells between veins in autumn leaves and their similarity to city blocks that she knew in New York connected together formed basis for this series. At that time Halaby lived in New York and commuted to New Haven while teaching at the Yale School of Art.
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series was inspired by a visit to
Jerusalem in 1966. Forty-five-degree diagonal lines emanate from the corners while points of diamonds began and ended at measured locations on the perimeter. Here, she added cylinders and textures inspired by inlaid Arabic art.
729:, but the show was cancelled in December 2023. The University cited "safety concerns" for the reason for cancelling her show. Halaby was quoted that she believes the reason for the cancellation of her show was to suppress Palestinian voices during the
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immersed in these aesthetic exploration feeling as though I was making trees that I had not noticed that the most important principle of growing trees is contradicted by my hanging soft stitchery. Thus the idea of hanging gardens suggested itself."
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colors and shapes that would correlate with various family members. Her sister was a rounded and yellow/white iridescent; Samia was a dark metallic red sideways railroad. In 1948, Halaby and her family fled their home in the port city of Yafa
242:. Since beginning her artistic career in the late 1950s, she has exhibited in museums, galleries, and art fairs throughout Europe, Asia, and North America. Her work is housed in public and private collections around the world, including the
778:(ed. Lena Jayyusi, Olive Branch Press), and through several curated exhibitions of Palestinian art in the US. She has also lectured widely on the subject in galleries and universities throughout the US and in venues in the Arab world.
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During her final student days and for a period after, Halaby's approach to painting was characterized by flat color; in these works, relationships of luminosity and simultaneous contrast were inspired by the
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than she had done earlier. This most recent period includes at least ten mural-sized works. It is a rich outpouring in pure abstract form that taps into the beauty of nature and of mankind's building.
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in the collection of the Nelson-Atkins Gallery of Art in Kansas City. Halaby was then teaching at the Kansas City Art Institute and leading a boldly experimental program for first-year students.
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Halaby retains vivid visual memories of her life in Palestine, especially of the trees and leaves in her grandmother Maryam Atallah's garden in Jerusalem. As a young child Samia would experience
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Due to her recognition in both the contemporary Arab art scene and in the US-based activist community, Halaby has been the subject of a number of art works by other artists. The 2008 film
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Samia Halaby speaking on Self-Censorship internet video made in conjunction with the National Coalition Against Censorship and the Vera List Center for Art and Politics at the New School
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In the early 2000s she was instrumental in the landmark exhibition "Made in Palestine," which was organized by the Station Museum of Contemporary Art in Houston and curated by
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As she describes her interest in later writing, Halaby tells of revisiting the museum to examine how artists historically treated edges. From her thorough education at the
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273:), and was active in American academia, teaching art at the university level for over 20 years, a decade of which was spent as an associate professor at the
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friend but quickly decided to embrace the latter. She interpreted the idea of life outside the self as painting that expands its content outside the frame.
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After retiring from teaching, Halaby began experimenting with electronic art forms, teaching herself how to program Basic and C programming languages on an
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recognize their own habits of looking at the world and in ways that are not wholly clear, an experience of relative space in an abstract painting emerges.
329:) with the creation of the Israeli state. She was 11 years old. Her family fled to Lebanon, residing in Beirut until 1951, when they eventually settled in
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774:(H.T.T.B. Publications), and a chapter titled "The Pictorial Arts of Jerusalem During the First Half of the 20th Century" that appears in the 2012 book
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Halaby primarily works in abstraction but has also utilized a documentary-style of figurative drawing in more politically oriented works, such as her
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1580:"Being Samia Halaby: Selection of Artworks: Over Six Decades of Bold and Explorative Artistic Expression Part II • SELECTIONS ARTS MAGAZINE"
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works, including paintings, digital media, three-dimensional hanging sculptures, artist books, drawings, and limited edition artist prints.
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1631:"Being Samia Halaby: Artistic Practices: On the sinuous path from inspiration to implementation: Autumn Leaves • SELECTIONS ARTS MAGAZINE"
599:. The results were short programs that ran on their own with abstract images in motion and with sound that she called kinetic paintings.
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series. She has designed dozens of political posters and banners for various anti-war causes, and is featured in the publication
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876:(2004), Depaul Art Museum, Chicago, IL (curator) (which later traveled to the Jerusalem Fund Gallery in Washington DC in 2005)
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essence, Halaby explains, it was essentially a continuation of seeing but with the addition of the fourth dimension of time.
1155:"Being Samia Halaby: An Intimate Retrospective of the Life and Work of Samia Halaby: Early Life • SELECTIONS ARTS MAGAZINE"
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The 2004 exhibition "The Subject of Palestine", which Halaby curated for the DePaul Art Museum, was described by the
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In 2024, Halaby was scheduled for her first retrospective in the United States at Indiana University Bloomington’s
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marks in different size and color to create the space without reference to imagery was both hard and generative.
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277:(1972–1982), where she was the first woman to hold the position of associate professor. She also taught at the
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Interview with Samia Halaby as part of a series of Q & A with contemporary Arab artists on ArteNews
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endowed the Samia A. Halaby Foundation to support working-class and Palestinian liberation movements.
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Liberation Art of Palestine: Palestinian Painting and Sculpture in the Second Half of the 20th Century
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Liberation Art of Palestine: Palestinian Painting and Sculpture in the Second Half of the 20th Century
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Liberation Art of Palestine: Palestinian Painting and Sculpture in the Second Half of the 20th Century
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234:-American visual artist, activist, educator, and scholar. Halaby is recognized as a pioneer of
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their pretend flight to the right. She determined immediately to follow their natural habits.
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1831:"Palestinian American's art exhibition in Indiana canceled after criticizing Gaza bombings"
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Third and Fourth International Symposiums on Electronic Art (1993, 1994), Minneapolis, MN
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Halaby and the Kinetic Painting Group performing at Mona Atassi Gallery in Syria, 1997
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these curves on large sheets of graph paper and then would select sections to paint.
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Samia Halaby: artist profile from the Station Museum's Made in Palestine exhibition
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Another short series based on investigations the artist did many years earlier is
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1957:(First ed.). Houston: Ineri Publishing, Station Museum of Contemporary Art.
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1928:"On Liberation Art and Revolutionary Aesthetics: An Interview with Samia Halaby"
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892:(2002), Williamsburg Art & Historical Center, Brooklyn, NY (co-curator with
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knowledge of art history to develop her new way of thinking. She examined
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1781:"Indiana University Cancels Palestinian Artist Samia Halaby's Exhibition"
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Jerusalem Interrupted: Modernity and Colonial Transformation 1917-Present
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1806:"US museum under fire for cancelling Palestinian artist's retrospective"
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As an independent scholar she has contributed to the documentation of
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Artner, Alan G. (14 April 2005). "Review: The Subject of Palestine".
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She received her academic training in the U.S. midwest (BSc Design –
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Sakakini Art Center (1997), Sakakini Art Center, Ramallah, West Bank
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of the twentieth century through many texts including her 2001 book
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1755:"Indiana University Cancels Major Exhibition of Palestinian Artist"
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Website of Ayyam gallery, Samia Halaby's commercial representative
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Nada Al-Awar, "Samia Halaby: Capturing the Roots of Resistance",
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Williamsburg Art and Historical Center (1998), Brooklyn, New York
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902:(2001), Headquarters of Union DC 1707, Manhattan, NY (curator)
213:(Palestine Books, Inc. in collaboration with Ayyam Gallery);
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from the article and its talk page, especially if potentially
1205:""Drawing the Kafr Qasem Massacre" by Samia Halaby: A review"
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317:. She was referred to as "the encyclopedia of the family".
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1682:"Autumn Leaves and Cities Blocks, 1982 - 83 | Art Gallery"
1555:"Samia Halaby: Abstract Painter, Activist, Art Historian"
1530:"Samia Halaby: Abstract Painter, Activist, Art Historian"
1432:"Samia Halaby: Abstract Painter, Activist, Art Historian"
1381:"Samia Halaby: Abstract Painter, Activist, Art Historian"
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In 1979, Halaby felt that she had reached the end of the
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Growing Shapes: Aesthetic Insights of an Abstract Painter
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Performances and presentations of Kinetic Painting Group
1506:"Samia Halaby: Painting from the Sixties and Seventies"
882:(2003), Tribes Gallery, Manhattan, NY (co-curator with
258:). Her work was included in the 2024 Venice Biennale.
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The Art Newspaper - International art news and events
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313:. Their mother was educated at the Friends School in
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1858:. Yamagata International Documentary Festival. 2009
1332:"Painting and the Personal Computer | Samia Halaby"
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870:(2005), Zeitgeist Gallery, Cambridge, MA (curator)
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1606:"Q&A: Samia Halaby on Painting and Palestine"
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305:Halaby was born in Jerusalem in 1936, during the
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1081:"Samia Halaby – Fragments of time | Art Gallery"
595:program Basic and C programming languages on an
581:Growing Shapes and Centers of Energy (1984–1992)
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936:Beirzeit University (1997), BeirZeit, West Bank
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1407:"Lost (and Found) Artist Series: Samia Halaby"
1250:"Samia Halaby and the Politics of Abstraction"
957:Taipei Fine Arts Museum (2023), Taipei, Taiwan
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192:Visual artist, activist, educator and scholar
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397:, then moved to Kansas City to teach at the
2324:Palestinian emigrants to the United States
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856:Eskenazi Museum of Art, Indiana University
799:Public collections including Halaby's work
753:by Syrian filmmaker and conceptual artist
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56:about living persons that is unsourced or
1104:Reichert, Elliot Josephine Leila (2023).
127:Learn how and when to remove this message
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836:The National Museum of Women in the Arts
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361:continue to be shown across the world.
16:Palestinian-American artist (born 1936)
2359:Indiana University Bloomington faculty
2344:21st-century Palestinian women artists
2309:20th-century Palestinian women artists
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1278:Samia Halaby, "On Politics and Art",
1227:Milton Glaser and Mirko Ilic (eds.),
927:Galerie Le Pont (1997), Aleppo, Syria
417:Virgin and Child in Domestic Interior
1458:"Samia Halaby's Radical Abstraction"
1179:"Interview with Artist Samia Halaby"
939:Darat al Funun (1997), Amman, Jordan
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1153:Magazine, Selections (2024-05-13).
694:"Free of the stretcher" (2000–2008)
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1980:"Palestinian Art and Possibility,
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1295:magazine (2006), volume 2, issue 1
1248:Slemrod, Annie (4 November 2010).
721:Centers of Energy (Cancelled Show)
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200:Painting, digital art, art history
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2304:Michigan State University faculty
2075:Birzeit University Online Library
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2011:Cotter, Holland (24 March 2006).
1779:Velie, Elaine (10 January 2024).
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1405:Wolfe, Shira (18 December 2020).
1330:Estorick, Alex (March 28, 2023).
978:Lasting impressions: Samia Halaby
851:Mathaf: Arab Museum of Modern Art
673:Painterly Abstraction (1991–2000)
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2349:21st-century Palestinian artists
2319:Palestinian emigrants to Lebanon
2314:20th-century Palestinian artists
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1926:Maymanah Farhat (22 June 2012).
1309:. Fine Arts Publishing, Beirut.
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405:Geometric still-life (1966–1970)
401:, her second teaching position.
311:Goodyear Tire and Rubber Company
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2013:"Art Review: Made in Palestine"
1978:Zarur, Kathy (September 2008).
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1106:Samia Halaby: Centers of Energy
1005:Samia Halaby: Centers of Energy
981:. Sharjah: Sharjah Art Museum.
712:Intuitive Search (2008–onwards)
1953:Harithas, James (2003-01-01).
1231:, Rockport Publishers (2005).
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890:Williamsburg Bridges Palestine
862:Exhibitions of Palestinian art
762:Scholarship on Palestinian art
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1706:"Samia Halaby | Participants"
1657:"Interview with Samia Halaby"
1357:"Samia Halaby | Participants"
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571:Autumn Leaves and City Blocks
533:Autumn Leaves and City Blocks
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1002:Halaby, Samia Asaad (2023).
975:Halaby, Samia Asaad (2023).
943:Lebanese American University
880:Palestine: Art of Resistance
811:The Art Institute of Chicago
745:References in visual culture
731:Israel–Hamas war (2023–2024)
590:Kinetic painting (1983–1995)
307:British Mandate of Palestine
244:Solomon R. Guggenheim Museum
34:biography of a living person
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1883:. Beirut Art Center website
1730:"Kinetic Computer Painting"
1203:Brooks, Eric (2017-02-10).
1130:"Samia A Halaby Foundation"
922:Philadelphia College of Art
821:The Cleveland Museum of Art
495:, Halaby worked on the new
423:1467–69) by Flemish master
415:attributed to the painting
164:1936 (age 87–88)
61:must be removed immediately
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2339:Yale School of Art faculty
2329:Palestinian women painters
831:Indianapolis Museum of Art
681:Halaby in her studio, 2016
365:Abstract color (1963–1965)
281:, Indiana University, the
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1134:Samia A Halaby Foundation
565:Sketchbook page from 1989
399:Kansas City Art Institute
291:Kansas City Art Institute
267:Michigan State University
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1878:"Art Exhibition catalog"
1635:SELECTIONS ARTS MAGAZINE
1584:SELECTIONS ARTS MAGAZINE
1482:"SAMIA HALABY - Artists"
1159:SELECTIONS ARTS MAGAZINE
874:The Subject of Palestine
816:Detroit Institute of Art
807:(New York and Abu Dhabi)
555:Prancing in the Vineyard
432:University of Cincinnati
263:University of Cincinnati
945:(1998), Beirut, Lebanon
248:Institut du Monde Arabe
217:(H.T.T.B. Publications)
2199:Abstract expressionism
1901:Halaby, Samia (2001).
1559:www.jerusalemstory.com
1534:www.jerusalemstory.com
1486:Dalloul Art Foundation
1436:www.jerusalemstory.com
1385:www.jerusalemstory.com
1336:www.rightclicksave.com
1280:Arab Studies Quarterly
1034:La Biennale Di Venezia
916:Brooklyn Museum of Art
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727:Eskenazi Museum of Art
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491:While teaching at the
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287:University of Michigan
48:Please help by adding
2060:Website of the artist
1876:Khalil Rabah (2012).
1510:Islamic Arts Magazine
1305:Inea Bushnaq (2008).
1229:The Design of Dissent
886:and Janine Al-Janabi)
826:Cincinnati Art Museum
805:The Guggenheim Museum
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460:Helical drawing, 1972
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347:The Design of Dissent
2334:Palestinian painters
2139:Abstract photography
1686:www.sfeir-semler.com
1085:www.sfeir-semler.com
846:Arab World Institute
439:Helixes and Cycloids
395:University of Hawaii
391:Interaction of Color
279:University of Hawaii
54:Contentious material
2229:Organic abstraction
1108:. München: Hirmer.
1008:. München: Hirmer.
597:Amiga 2000 computer
385:and by the work of
376:graduate show, 1963
172:Mandatory Palestine
2164:Hard-edge painting
2018:The New York Times
1710:2023TaipeiBiennial
1456:Farhat, Maymanah.
1361:2023TaipeiBiennial
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275:Yale School of Art
271:Indiana University
252:Palestinian Museum
2291:
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2209:All-over painting
1984:, an examination"
1982:Made in Palestine
1964:978-0-9659458-1-3
1955:Made in Palestine
1462:Jadaliyya - جدلية
1316:978-9953-0-0878-3
250:(Paris), and the
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525:Dome of the Rock
509:Dome of the Rock
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331:Cincinnati, Ohio
265:; MA Painting –
246:(New York), the
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1036:. 14 March 2024
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900:Palestinian Art
864:
841:Mead Art Museum
801:
791:Chicago Tribune
768:Palestinian art
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703:Hanging Gardens
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517:Diagonal Flight
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497:Diagonal Flight
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443:
425:Petrus Christus
407:
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226:(born 1936, in
224:Samia A. Halaby
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1759:New York Times
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72:Find sources:
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21:
20:
2243:Predecessors
2144:Concrete art
2121:Abstract art
2040:
2034:
2022:. Retrieved
2016:
2006:
1994:. Retrieved
1990:
1981:
1973:
1954:
1948:
1937:. Retrieved
1931:
1921:
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1885:. Retrieved
1871:
1860:. Retrieved
1850:
1839:. Retrieved
1837:. 2024-02-29
1835:PBS NewsHour
1834:
1825:
1814:. Retrieved
1812:. 2024-01-12
1809:
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1788:. Retrieved
1784:
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1762:. Retrieved
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1737:. Retrieved
1733:
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1713:. Retrieved
1709:
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1689:. Retrieved
1685:
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1665:. Retrieved
1663:. 2019-07-05
1661:ARABWORLDART
1660:
1651:
1639:. Retrieved
1634:
1625:
1614:. Retrieved
1612:. 2014-01-23
1609:
1600:
1588:. Retrieved
1583:
1574:
1563:. Retrieved
1561:. 2024-01-26
1558:
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1538:. Retrieved
1536:. 2024-01-26
1533:
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1513:. Retrieved
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1465:. Retrieved
1461:
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1440:. Retrieved
1438:. 2024-01-26
1435:
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1414:. Retrieved
1410:
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1389:. Retrieved
1387:. 2024-01-26
1384:
1375:
1364:. Retrieved
1360:
1351:
1339:. Retrieved
1335:
1325:
1307:Samia Halaby
1306:
1300:
1292:
1287:
1279:
1274:
1262:. Retrieved
1256:
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1228:
1223:
1212:. Retrieved
1208:
1198:
1187:. Retrieved
1185:. 2018-02-21
1182:
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1162:. Retrieved
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1137:. Retrieved
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1088:. Retrieved
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43:verification
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2214:Color Field
2191:abstraction
2179:Suprematism
2159:Fractal art
2131:abstraction
1905:. H.T.T.B.
1790:9 September
1764:9 September
1734:www.art.net
1641:9 September
1590:9 September
1416:9 September
1341:9 September
1040:9 September
663:Still from
647:Still from
631:Still from
615:Still from
535:(1982–1983)
511:(1980–1982)
476:(1974–1979)
441:(1971–1975)
383:minimalists
322:synesthetic
232:Palestinian
183:Palestinian
179:Nationality
117:August 2022
2298:Categories
2169:Minimalism
2129:Geometric
1939:2012-07-13
1887:2012-07-14
1862:2012-07-14
1841:2024-06-04
1816:2024-06-04
1739:2024-05-20
1715:2024-05-20
1691:2024-05-20
1667:2024-05-20
1616:2024-05-20
1565:2024-05-20
1540:2024-05-20
1515:2024-05-20
1491:2024-05-20
1467:2024-05-20
1442:2024-05-20
1391:2024-05-20
1366:2024-05-20
1214:2024-05-20
1189:2024-09-09
1164:2024-05-20
1139:2024-05-20
1090:2024-05-20
962:References
301:Early life
289:, and the
87:newspapers
1933:Jadaliyya
649:Branching
412:Rembrandt
343:Kafr Qasm
228:Jerusalem
168:Jerusalem
39:citations
2283:Category
2260:Futurism
2234:Tachisme
2224:Nuagisme
2189:Lyrical
2154:De Stijl
1183:ArteFuse
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