Publishing gives an exhibition a life beyond its duration. Bader’s collaboration with Nabil Anani is a key documentary thread connecting his artistic work to the recording of Palestinian art.
Palestinian visual art in the occupied territory, 1984
عصام بدر ونبيل عناني، الفن التشكيلي الفلسطيني في الأرض المحتلة، رام الله، 1984. English-language references vary in their translation of the title, including Fine Arts in Occupied Palestine. Anani’s bibliography confirms the collaboration; the bibliography in the Vera Tamari volume identifies Gallery 79 as publisher.
The video already published on this website documents the volume. It is retained below as an archival viewing resource, not described as a complete digitized edition.
Writing, editing and the documentary record
The collaboration establishes Bader’s involvement in art publishing. It does not establish a complete bibliography of newspaper work or a specific editorial appointment. Those claims require signed articles, mastheads or publication records. This section keeps the book distinct from later writing about him.
Writing about Bader
Liana Badr’s 2019 Al-Faisal essay contains first-person workshop memories. The Jordan National Gallery supplies an institutional biography and a work entry. Zawyeh’s catalogues supply exhibition and object records. Each offers a different type of evidence, with different limits.