Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950 s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This is one of a suite of 21 prints written by Massoudy of a poem by the Palestinian activist poet, Mahmoud Darwish. These prints accompanied the artistic renditions of the poem done by Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary, the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary, the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents

The poems in this book by Darwish are about the suffering of the Palestinian people. The calligraphic illustrations done by Koraichi were also displayed as prints in the Global Conceptualism exhibition (catalogue held by the Sackner Archive). The arabic calligraphy of the poems was rendered by Massoudy. The critical text was written by Khatibi. This is the first publication of the Abdul Hameed Shoman Foundation, documenting the works of artists from the Arab world. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This review essay is subtitled African Conceptualism in Global Contexts and features the works of Willem Boshoff and Rachid Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Rachid Koraichi is mentioned in this review of the exhibition, Global Conceptualism. He is described as "an Algerian living in Tunisia, who stands here also as a window into the Middle East and Muslim culture...Koraichi's calligraphic work uses Arabic script that combines political questions and private psychological explorations. Of course , for the Westerm eye it becomes a formal device that we cannot read." -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This catalogue features experimental calligraphic paintings by Ben Bella, Brion Gysin, Jean Degottex, Shakir Hassan, and Lee I-Fan. William Burroughs' interview of Brion Gysin is titled "Points de Passage." Pierre Restany contributed an essay on the work of Lee U-Fan. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Illustrated in this comprehensive volume is "A Nation in Exile: Engraved Hymns" that was a collaboration between Rachid Koraichi and the Palestinian poet Mahmoud Darwish with a calligraphic translation of the poetry by Hassan Massoudy.This suite of prints is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This sophisticated children's book combines a conventional poem in French, a translation in Arabic and a multi-colored calligraphic interpretation by Koraichi. The poems were selected by Waciny Laredj and the conventional Arabic calligraphy was done by Ghani Alani. The poems by Algerian poets date from 1168 to contemporary times. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This sophisticated children's book combines a conventional poem in French, a translation in Arabic and a multi-colored calligraphic interpretation by Koraichi on facing pages. The poems were selected by Farouk Mardam-Bey and the conventional Arabic calligraphy was done by Abdullah Akkar. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book includes reprodutions of 27 drawings by Koraichi. On the publishers WEB site, a critique is provided in French. Un chant d'espoir pour la paix à venir entre Palestine et Israel [A song of hope for peace to come between Palistine and Israel.]. La huppe, messagere de l'Invisible pour les mystiques musulmans, serait à l'origine de la rencontre entre le roi Salomon et la Sulamite, venue du royaume de l'encens. De cette etreinte, dit-on, naquit le plus beau des chants d'amour"¦ Aujourd'hui, l'oiseau s'est refugie dans le sommeil. Dans un espace trop charge de memoire, deux peuples hantes par leurs mirages et enfermes par leurs peurs, se massacrent. Les generations se succedent et semblent avoir oublie jusqu'à la signification du mot paix. Parfois un reve traverse la huppe, l'emportant dans un flux d'images. Le present reveille le passe, les siecles se bousculent. On peut alors peut entendre les voix de la mysterieuse Sulamite, de l'amant et du chÅ“ur de Jerusalem se...