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This article examines the significance of Zulfa al-Sa'di's paintings in the advent of modern art in Palestine. Although her work was largely prompted by the political context of 1930s Palestine, al-Sa'di also drew from a robust archive of images, newspapers, and texts, recognizing their value as agents of national unity. Her ability to bridge Islamic themes with Christian motifs, historical texts with contemporary media, politics with poetry, painting with photography, and art with nationalism made her work palatable to an Arab intelligentsia who sought to reconcile tradition with modernity. Additionally, this paper will consider the context in which al-Sa'di's oeuvres gained traction, most notably the 1933 National Arab Fair in Jerusalem. National fairs represented a pivotal shift in the production, consumption, and exhibition of culture. They not only facilitated the display of Palestinian art, but also informed its content and purpose. The paper demonstrates that al-Sa'di's apparently traditional portraits relied on an intrinsically modern system of representation underpinned by the fair's political agenda. By contextualizing al-Sa'di's portraits and reading them against her cache of historical and contemporary references, this article aims to give a more substantial account of al-Sa'di, giving back visibility and agency to her life and work and asserting her importance in the history of Palestinian art. [ABSTRACT FROM AUTHOR]

The article focuses on art professor Sedrick Huckaby and his works of art. A statement by Huckaby explaining the essence of his paintings and the visual language he choose to speak about the outer world is presented. Information is provided about Huckaby's education, various awards and fellowships received, and art exhibits in museums and galleries across the U.S. Several of his works are featured including the oil on panel "Shekhinah Glory" and the oil on paper on panels "Our Brokenness #1."

The article focuses on artist Mequitta Ahuja and her works of art. A statement by Ahuja describing her work and process which he calls Automythography is presented. Information on the education of Ahuja, her solo and group exhibits, and the various awards she received is provided. Several of Ahuja's artworks are featured including the enamel, glitter and acrylic on vellum "Dream Sequence," oil on canvas "Inside" and the acrylic, oil, waxy chalk and water color on paper "Autocartography."