Agam – Rabbi of the Visual, prophet of the Hebraic

Polymorphs

Yaacov Agam on Polymorphs: โ€œI have created a theme on each of the parallel surfaces. Standing to one side of the artwork, you see only the composition which appears on the surface nearest you; the more you move towards the center, the more the second composition begins to appear and unite with the first in counterpoint. Seen directly from the front, the different compositions come together to form a new whole, which becomes visible. Like orchestral music, the content and formal characteristics of these compositions are modified and transformed by the domination of first one motif and then the other, in direct proportion to the change in the observerโ€™s standpoint in front of the artworkโ€ (as quotedย in Solomon, 1981, p. 300).

1. Solomon, Jack Jr. From the 2nd, to the 3rd, into the 4th Dimensionโ€ฆ. Chicago: Circle Fine Art Press, 1981. Polymorphs discussed on pages 30-31.

Palm Springs Ark

โ€œThe most daring innovations in technology and electronics should be employed to enhance our worship experience. The Eternal Light I created for the synagogue at the Palm Springs Jewish Community Center is controlled by computer, and the ark is engineered so that the Torah scrolls can be made to โ€œdisappearโ€ when a non-religious activity is performed.โ€

My Ideal Synagogue

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Written and illustrated by Yaacov Agam

From Reform Judaism, Fall 1994

Reprinted with permission.

What is the function of the synagogue, and does the architecture meet the needs of the worshipers? After considering these questions for many years, I have concluded sadly that the architectural organization of most synagogues inhibits rather than enhances the spiritual aspirations of our people.

People go to synagogue to be part of a community. That is why Jewish communal worship requires a minyan of ten or more people. The individual is only a part of a whole or unity, which in the Shema is expressed as Oneness.

It has always disturbed me that upon entering the sanctuary, you see a back view of the community. That is because the synagogue follows the old Roman or Greek theatrical concept, with a seating hierarchy: the front rows are reserved for people of means and influence, then come the regular people, followed by the poor and the slaves. Such a configuration contradicts a fundamental Jewish spiritual concept โ€” we are all equal before God.

I also object to the placement of the Torah ark and bimah in one particular location. (The ark is placed in the direction of Jerusalem). God is everywhere and not limited to a given space. Wholeness cannot be isolated. My ideal synagogue would use architectural innovations to create a sacred space that would truly satisfy our needs.

Instead of seating people in the same direction, facing the backs of heads, I would use revolving chairs. If everyone could turn 360 degrees, they could at any time face different people, constantly creating different community groups. And, instead of appearing like an actor in front of the congregation, the rabbi could move around and between the people. Looking at our brothers and sisters, we could see ourselves as a people of shared ideals, values, and aspirations, and as a reflection of the divine spirit.

Instead of assembling all the Torah scrolls in an ark, I would place them in different locations throughout the sanctuary to express the idea that Godโ€™s glory fills the universe.

Rotating chairs could be added or removed to accommodate the exact number of worshipers present, as empty seats project a disturbing and distracting sense of missing people and emptiness.

More color could be used, as the covenant with God is sealed with a rainbow. Rainbow colors express our direct relationship with divinity and God.

The most daring innovations in technology and electronics should be employed to enhance our worship experience. The ner tamid I created for the synagogue at the Palm Springs Jewish Community Center is controlled by computer, and the ark is engineered so that the Torahs can be made to โ€œdisappearโ€ when a non-religious activity is performed.

If we wish to encourage our children to embrace a dynamic Judaism in the 21st century, we must create the right kind of space to meet our spiritual aspiration as Jews.

This is a challenge of great urgency.

Degenerate Art

The four-dimensionality and beyond that characterizes Jewish consciousness and Einsteinian physics, arose in modern art and flourishes in postmodern art. Aspiring artist Hitler mounted his Degenerate Art exhibition in Munich as a condemnation of the emerging ecological perspective in modern art calling it โ€œJewish Artโ€ even though gentiles had made most of the artworks in the show.Einsteinโ€™s theories were labeled โ€œJewish Physicsโ€ and banned. European civilizationโ€™s fear of those with alternative perspectives generated centuries of anti- Semitic hatred that led to the Holocaust.

Alexenberg, Mel. The Future of Art in a Digital Age: From Hellenistic to Hebraic Consciousness (p. 68). Intellect Books Ltd. Kindle Edition.

Degenerate Art | MoMA
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Degenerate Art โ€“ Visual Propaganda: Ideology in Art
The โ€œDegenerate Artโ€ Exhibit and the Naziโ€™s View of Art
Power and โ€˜degenerateโ€™ art :: More about the exhibition :: The mad square :: Art Gallery NSW
Degenerate Art Exhibition โ€“ When Hitler Declared War on Modern Art
Degenerate art : the fate of the avant-garde in Nazi Germany : Barron, Stephanie, 1950- : Free Download, Borrow, and Streaming : Internet Archive
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https://db0nus869y26v.cloudfront.net/en/Degenerate_art
5 Forgotten Female Artists Deemed Degenerate By The Nazis โ€“ Art
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Degenerate Art โ€“ 1993, The Nazis vs. Expressionism (With English Subtitles) with subtitles | Amara
The Helpful Art Teacher: Degenerate Art: Hitlerโ€™s War on the Modern Imagination
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How the Brits Refuted Nazi Germanyโ€™s โ€˜Degenerate Artโ€™ Exhibition | Smart News | Smithsonian
The acquisitions by Liรจge at the sale of โ€œdegenerate artโ€ in Lucerne โ€” English
Jews and Photography โ€“ Commentary
A Jewish Photographer Buried These Photos So Nazis Wouldnโ€™t Find Them, And Theyโ€™ll Break Your Heart (NSFW) | Bored Panda
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HHF Factpaper: Jews in Photography

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Buber on Art

Jewish art is a series of facts. For thousands of years we were a barren people. We shared the fate of our land. A fine, horrible desert sand blew and blew over us until our sources were buried and our soil was covered with a heavy layer that killed all young buds. The excess in soul power that we possessed at all times expressed itself in the exile merely in an indescribably one-sided spiritual activity that blinded the eyes to all the beauty of nature and of life. We were robbed of that from which every people takes again and again joyous, fresh energy — the ability to behold a beautiful landscape and beautiful people. The blossoming and growth beyond the ghetto was unknown to and hated by our forebears as much as the beautiful human body. All things, from whose magic the literature spins its golden veil, all things, whose forms are forged through art’s blessed hands, were something foreign that we encountered with an ineradicable mistrust. โ€ฆ The very thing in which the true essence of a nation expresses itself to the fullest and purest, the sacred word of the national soul, the artistic productivity, was lost to us. Wherever the yearning for beauty raised itself with tender shy limbs, there it was suppressed with an invisible, merciless hand. โ€ฆ A whole and complete Jewish art will be possible only on Jewish soil, just like a whole and complete Jewish culture as such.”[i]


ย ย ย ย ย ย ย ย  [i] Gilya G. Schmidt (ed. and trans.), The First Buber: Youthful Zionist Writings of Martin Buber (Syracuse: 1999), 48, 50.

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The Museum of the Jewish Future

Dedicated to the Jewish Experience, the Jewish future, multi-media. national digital repository.- museum as experience enhancer.

โ€œI wonder,โ€ said Agam, โ€œwhy all the museums preserve the past. With our means of communication [we could] become enthusiastic about a place where projects concerning the future, the chrystalization of our future, would be shown and explainedโ€ฆโ€™ as quoted in โ€œHomage to Yaโ€™acov Agamโ€ย  P. 151

Where the traditional jewish museum creates exhibitions, the museum of the Jewish future creates participatory environments. Where the traditional Jewish museums may have docents, the museum of the jewish future creates transformative experiences with interaction with other participants. where the traditional museum currates items of the past, the museum of the future creates scenarios.

Jewish Art Resources

The creative art of living Jewish lives that are supported through the intertwining of traditional media of study, prayer, communal worship and life cycle ritual with the range of diverse Arts media that includes but is not limited to jewelry, painting, photography, graphics, film and performance art.

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