Palestinian-American artist (born 1936)
Samia A. Halaby (born 1936, in Jerusalem) is a Palestinian-American visual artist, activist, educator, and scholar. Halaby is recognized as a pioneer of abstract painting and Computer art. 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 Solomon R. Guggenheim Museum (New York), the Institut du Monde Arabe (Paris), and the Palestinian Museum (Birzeit). Her work was included in the 2024 Venice Biennale.
She received her academic training in the U.S. midwest (BSc Design – University of Cincinnati; MA Painting – Michigan State University; MFA – Indiana University), 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 Yale School of Art (1972–1982), where she was the first woman to hold the position of associate professor. She also taught at the University of Hawaii, Indiana University, the Cooper Union, the University of Michigan, and the Kansas City Art Institute.
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 endowed the Samia A. Halaby Foundation to support working-class and Palestinian liberation movements. 
Early life.
Halaby was born in Jerusalem in 1936, during the British Mandate of Palestine. 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 &amp; Halaby Ltd., a seller of the Goodyear Tire and Rubber Company. Their mother was educated at the Friends School in Ramallah. She was referred to as "the encyclopedia of the family".
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 synesthetic 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 (Jaffa) 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 Cincinnati, Ohio.
Painting style.
Halaby primarily works in abstraction but has also utilized a documentary-style of figurative drawing in more politically oriented works, such as her Kafr Qasm series. She has designed dozens of political posters and banners for various anti-war causes, and is featured in the publication "The Design of Dissent". 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 
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 works, including paintings, digital media, three-dimensional hanging sculptures, artist books, drawings, and limited edition artist prints.
After retiring from teaching, Halaby began experimenting with electronic art forms, teaching herself how to program Basic and C programming languages on an Amiga computer 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 continue to be shown across the world.
Abstract color (1963–1965).
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 minimalists and by the work of Josef Albers and his book "Interaction of Color". 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 University of Hawaii, then moved to Kansas City to teach at the Kansas City Art Institute, her second teaching position.
Geometric still-life (1966–1970).
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 knowledge of art history to develop her new way of thinking. She examined Rembrandt 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 attributed to the painting "Virgin and Child in Domestic Interior" (c. 1467–69) by Flemish master Petrus Christus 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.
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 University of Cincinnati, 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.
"Helixes and Cycloids" (1971–1975).
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 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.
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 these curves on large sheets of graph paper and then would select sections to paint.
"Diagonal Flight" (1974–1979).
While teaching at the Yale School of Art, Halaby worked on the new "Diagonal Flight" 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 their pretend flight to the right. She determined immediately to follow their natural habits.
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 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.
"Dome of the Rock" (1980–1982).
In 1979, Halaby felt that she had reached the end of the "Diagonal Flight" 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 essence, Halaby explains, it was essentially a continuation of seeing but with the addition of the fourth dimension of time.
Finally, the "Dome of the Rock" 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.
"Autumn Leaves and City Blocks" (1982–1983).
Another short series based on investigations the artist did many years earlier is "Autumn Leaves and City Blocks". 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.
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. 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.
Growing Shapes and Centers of Energy (1984–1992).
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 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.
Kinetic painting (1983–1995).
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 program Basic and C programming languages on an Amiga 2000 computer. The results were short programs that ran on their own with abstract images in motion and with sound that she called kinetic paintings.
A few years later, during the early 1990s, Halaby began programing on a