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Auction catalogue. The painting by Glen Lignon in this catalogue is similar is size and theme to the painting in the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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At Sotheby's auction a signed and dated print of an edition of 250 sold for $16,250. The original unique photograph/calligraphic drawing is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Deborah Solomon writes that Shirin Neshat's "elaborately staged films express the real-life dramas of women living under Islam" in her essay Romance of the Chador. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue features documents of the avant-garde. -- Source of annotation: Marvin or Ruth Sackner.

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Auction catalogue. The Sackner Archive holds a smaller version of the photograph by Shirin Neshat titled "Unveiling" that is listed in this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Shirin Neshat's powerful and meaningful film was presented at the Chicago Art Institute. It was an installation of two synchronized black and white video sequences projected on large screens on opposite facing walls. In "Rapture," Neshat articulates the ways in which space and spatial boundaries are politicized in Islam. The men populate a stone fortress on one side of the room all wearing black pants and white shirts, and on the other wall the women move in a barren dessert wearing black full-length veils. The message by Neshat is that "both men and women are contained and controlled by a fortress mentality - women behind the veil, men behind the wall." The film was accompanied by music by Sussan Deyhim, blending Middle Eastern and North African folk traditions with contemporary sources using lyrics, abstract primal utterances, natural ambient sounds, electronic noise and percussion. -- Source of annotation: Marvin or Ruth Sackner.

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Abigal Esman wrote the introductory essay for this exhibition of Middle Eastern & Arab art. -- Source of annotation: Marvin or Ruth Sackner.

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In addition to an incisive critical essay, this catalogue also includes an interview with Shirin Neshat and reproductions from the video trilogy Turbulent, Rapture and Fervor. Further, several visual poetic photographic prints from the Women of Allah series are reproduced. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue includes descriptive texts and illustrations for Neshat's following videos: Turbulent, Rapture, Fervor, Soliloquy, Passage and Pulse. -- Source of annotation: Marvin or Ruth Sackner.

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The image of this print consists to two arms, one wrapped in a Jewish religious ornament known as tfellin, the other with a Farsi text. Fuchs printed this work. The image was was reproduced in the November 2009 issue of Art in America page 121. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This review of an exhibition at MoMA in New York states that "Rachid Koraichi , raised in a Sufi family in Algeria and now living in Paris, invents 'calligraphic' texts with Arabic characters, Chinese-style ideograms and talismanic signs, and embroiders them in gold on silk banners to creat banners for a new, universal language." Cotter also writes that "Shirin Neshat, born in Iran, turns the written word - as distinct from calligraphy, with its very particular skills - into a quasi-revolutionary instsrument in a seies of 1996 studio photographs of young women wha are dressed in traditional black veils but carry guns and have passages from erotic poetry and paeans to religious martyrdom written in Persian on their faces and hands. The artist seems to be symbolically placing political power in the hands of the kinds of veiled women who are automatically assumed by many Westerners to be oppressed victims of Islamic religious law, but who don't necessarily see themselves that way at...

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This exhibition ostensibly dealt with works by 17 Islamic artists but fell short owing to inclusion of mostly Western art images done by Islamic artists living in the West. -- Source of annotation: Marvin or Ruth Sackner.

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This book consists of photographic reproductions of photographic portraits done by Neshat that feature Iranian women with calligraphic poetic texts written in Farsi on their uncovered body parts. The first photographic reproduction in this book is entitled "I Am Its Secret" and is held by the Sackner Archive. It is a portrait of Neshat's covered head, wrapped in a black chador, with only her eyes and nose exposed. Her skin is covered with black and red Farsi text written in a circular pattern.In an introductory essay, Francesco Bonami writes that "all the work of Shirin Nesht develops along the border where bigotry and spirituality touch but don't merge." She politicizes the oriental woman who gazes with a seductive innocence that is at the same time extraordinarily shrewd. As the writer Hamid Dabashi states, "From the verbal to the visual, Shirin Neshat turns the body into the written and photographed page of a banned book." -- Source of annotation: Marvin or Ruth Sackner.