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Steve Sabella: Photography 1997 - 2014
Hatje Cantz in collaboration with the Akademie der Künste in Berlin, 2014
Text by Hubertus Von Amelunxen and a Foreword by Kamal Boullata
Steve Sabella - Monograph
    Read the foreword by Kamal Boullata    
Steve Sabella: Archaeology of the Future
Maretti Editore, 2014
Essays by Karin Adrian von Roques, Beatrice Benedetti, Leda Mansour and Steve Sabella
Archaeology of the Future
Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses
I.B. Tauris, 2015
Edited by Hamid Keshmirshekan; with essays by James Allan, Hamid Dabashi, Fereshteh Daftari, Abbas Daneshvari, Helia Darabi, Hamid Keshmirshekan, Shaheen Merali, Venetia Porter, Sarah Rogers, Irit Rogoff, Hamid Severi and Nada Shabout
Included in chapter 11 "Histories of the Present: the Changing Worlds of Middle Eastern Artists" by Venetia Porter
Contemporary Art from the Middle East
In the Wake of the Poetic
Syracuse University Press, 2015
By Najat Rahman
In the Wake of the Poetic
View From Inside: Contemporary Arab Photography, Video and Mixed Media Art
Schilt Publishing. FotoFest
Essays by Karin Adrian von Roques, Claude W. Sui, Samer Mohdad, Mona Khazindar
view from inside
Keep Your Eye on the Wall
Edited by Olivia Snaije & Mitchell Albert
Saqi Books (English) / Textuel (French)
Keep Your Eye On The Wall
Between Exits - Paintings by Hani Zurob
By Kamal Boullata
Between Exits

Gaston Bachelard wrote that "outside and inside form of a dialectic of division, the obvious geometry of which blinds us as soon as we bring it into play in metaphorical domains". Sabella's reconstructed fragmentations of the two sides of the same windows represents his metaphor's embodiment of 'home' and 'exile'. By allegorizing what Bachelard went on to call "the dialectics of here and there", Sabella gave a visual body to the "awareness of simultaneous dimensions" that Edward Said wrote in his description of the experience of the exiled.

Told Untold Retold - 23 Stories of Journeys through Time and Place
Edited by Sam Bardaouil & Till Fellrath
told untold retold SKIRA

Consequently, when we step inside this confrontational green-line that he has created, we find our bodies physically rotating in the space in order to get a better visual grip of either one of the two sides. With this, he wants us to realize that assuming any neutrality within the charged space that he has built is simply not feasible. We are forced to constantly navigate from one side to the other to maintain a complete physical detachment. Paradoxically, constant action becomes the symbol for no action, a metaphor for an eternal state of exile.

New Vision - Arab Contemporary Art in the 21st Century

Edited by Hossein Amirsadeghi, Salwa Mikdadi & Nada M. Shabout

TransGlobe Publishing and Thames & Hudson
Sabella - New Vision Thames & Hudson

One of the most important themes running throughout all of Sabella’s work is the concept of exile, the result of growing up in a divided city such as Jerusalem: ‘As far as I remember I always felt out of place in my city of birth. Alienation was surrounding me. Kamal Boullata [another Jerusalem artist] remarked...how I function like an artist in exile even though I lived in my city of birth. It took me a few years to understand the meaning of his words. I was not “physically” in exile. It was Jerusalem that was exiled and hence...all those who lived in it were in exile.’

    Read 'Steve Sabella' on Sabella's series In Exile and Cecile Elise Sabella    
Mixed Messages: The Versatility of Collage
By Ann Manie
    A & C Black    
mixed messages

Steve says that his work is made up of two aspects, which taken together he defines as a ‘form of Cubpressionism’, perhaps reflecting the recurring, complex human dilemma which finds a powerful voice in his photographic collages. ... He elaborates with another point that is important to the window series: ‘I did the photomontage from the inside, mirroring myself, and at the same time you have the outside connotation of the world and how one is perceived by others.’

Concrete Messages: Street Art on the Israeli - Palestinian Separation Barrier
Edited by Zia Krohn and Joyce Lagerweij
Dokument Press
concrete messages

The work I presented on the wall portrayed Palestinians in a different way from how they are constructed in the mind of many Israelis. For example, when I take a cab in Jerusalem and I make it known to the driver that I’m a Palestinian, the first remark by the driver may be: 'But you don’t look Palestinian'. My answer would instantly be: 'What does a Palestinian look like?' So, I used images that challenge stereotypes and trigger the imagination.

Palestinian Art: From 1850 to the Present
By Kamal Boullata
Saqi Books
kamal boullata

And yet, it is in Sabella's conscious avoidance of photographing Jerusalem that the visual artist has managed to recreate the universality of a place with which he identifies. In that respect, his search for his true self may be likened to those monks who, drawn by Jerusalem, came from distant lands only to spend the rest of their lives in bare and desolate landscapes. Only there could Sabella find a Jerusalem where he might breathe fresh air.