“He had a vision in a
dream. A ladder was standing on the ground, its top reaching up towards heaven
as Divine angels were going up and down on it.” (Genesis 28:12)
My artwork above “Angel Ascending from the Land of
Israel” is in the collection of the Israel Museum in Jerusalem. I created it in the printmaking studio affiliated with the museum. It shows two
digitized Rembrandt angels ascending from a NASA satellite image of the Land of
Israel. It illustrates the biblical commentary that the angels in Jacob’s dream go up
from the Land of Israel and come down to earth throughout the world.
In 1989, I made this commentary come alive by sending a digitized Rembrandt angel on a faxart flight around the globe using AT&T
satellites. The cover of my new book Through
a Bible Lens: Biblical Insights for Smartphone Photography and Social Media displays
the Rembrandt angel images from my Israel Museum serigraph (See
http://throughabiblelens.blogspot.com.) However, it shows the same two angels
flying out from a smartphone screen. Fax technology has morphed into the
Internet, smartphones and social media.
Since my pioneering faxart projects are conceptually relevant
today, let’s take a look at how I flew a digitized Rembrandt angel from the
AT&T building in New York, to Rembrandt’s studio in Amsterdam, to Tokyo where
fax machines were made, to the City of Angels – Los Angeles, and back to New
York. My circumglobal faxart event was
followed in 60 newspapers, in three thousand copies of AT&T’s Annual
Report, and by ten million viewers of news stories on all the major TV networks
covering the cyberangel’s return to New York.
THE STORY OF CYBERANGELS CIRCLING THE GLOBE VIA AT&T
 |
| The return of the cyberangel from its circumglobal flight (photo from the AT&T annual report) |
Working with Rembrandt’s angels, reminded me of the small
etching he had made as a book illustration showing angels going up and down the
ladder in Jacob’s dream. It was in the
only book he had illustrated, Piedra Gloriosa/Even Yakar (Glorious Stone
in Ladino and Hebrew), a kabbalistic book written by his neighbor and
friend, Rabbi Menasseh ben Israel. I
wanted to do something to honor Rembrandt.
On October 4th, it would be the 320th anniversary
of his death. Jewish tradition honors
people on the day they complete their lives rather than on their
birthdays. It’s like applauding after
seeing a great play instead of when the curtain opens. It dawned on me that I could applaud
Rembrandt best by having his winged angels wing their way around the world.
I phoned AT&T. I
asked if I could use their telecommunications satellites to send a cyberangel
on a circumglobal flight. “You have what
to send around the globe?” was the usual response as I was transferred from
office to office. Incredulity was turned
to interest when I reached the director of the Infoquest Center, AT&T’s
technology museum on the ground floor of their postmodern building designed by
Philip Johnson. I took a clangorous
subway train across the Manhattan Bridge to present my proposal. The public relations people liked the idea
and AT&T agreed to sponsor my memorial faxart event.
I flew to Amsterdam to meet with Eva Orenstein-van Slooten,
Curator of Museum het Rembrandthuis, the artist’s home and studio. With trepidation, I proposed having a fax
machine placed on Rembrandt’s 350-year-old etching press to receive the angel
that would fly there from New York. She
thought it was a wonderful idea. It
would make her museum, a quiet place, come alive as Rembrandt’s angel
rematerialized in the place he had originally created it.
On the morning of October 4th, his angel ascended
from the Chippendale top of the AT&T building in New York. It flew to Amsterdam to Jerusalem to Tokyo to
Los Angeles, returning to the former New Amsterdam on the same afternoon. It took an hour in each city to receive 28
pages of angel fragments and fax them on to the next city. After a five-hour flight around the planet,
the deconstructed angel was reconstructed for the fifth time at its starting
point. When it passed through Tokyo, it
was the already the morning of October 5th. After the line printed out on the top of the
fax “Tokyo National University of Arts and Music, 5 October 1989” was the line “Museum of
Contemporary Art, Los Angeles, 4 October 1989.” Cyberangels can not only fly around the globe,
they can fly into tomorrow and back into yesterday. They reshape our concepts of time and space
in ways that correspond to the vision of kabbalists centuries ago.
The cyberangel was received at Rembrandt’s house seconds
after it left New York. It came as 28
sheets, each with an abstract fragment of the angel image. Ms. van Slooten feed the sheets back into the
fax machine on Rembrandt’s etching press and dialed the fax number of the
Israel Museum in Jerusalem. She then
assembled all the fragments into a whole 4 x 6 foot angel.
Jerusalem was the appropriate next stop since it is an angel
from a biblical scene. It was evening
when the cyberangel arrived. Amalyah
Zipkin, Curator of European Art at the Israel Museum, sent me a description of
the angel coming and going. She wrote:
“There is something appropriate in the illogic of the event:
here we were in Jerusalem, the Holy City of 4000 years of turbulent history,
huddled next to a fax machine in the mail room of the Israel Museum. It was a few days before Yom Kippur. Somewhere out there in technological space, a
disembodied angel – computerized, digitized, enlarged, quartered, and faxed –
was winging its way towards us from Amsterdam.
This angel had been drawn in the 17th century by a Dutch
artist with the instantly-recognizable mass-media name of Rembrandt van Rijn,
and had undergone its electronic dematerialization 320 year after the artist’s
death as the hands of a New York artist and technology freak who had the
audacity to make the connections: Rembrandt, the Bible, gematria, the
electronic age, global communications, the art world, and the fax machine. Like magic, at the appointed hour the fax
machine zapped to life and bits of angel began to materialize in
Jerusalem. Photographs and the attendant
PR requirements of contemporary life were seen to, and the pages were carefully
fed back into the machine. We punched in the Tokyo phone number and the angel
took technological flight once more.”
It was almost dawn on October 5th when the angel
arrived in Tokyo in the Land of the Rising Sun where fax machines are
made. Ikuro Choh of Tokyo National
University of Arts and Music received the angel and revealed its full image by
assembling the 28 sheets on the ground among the ancient pillars in Ueno
Park. He then disassembled them and
attached all the sheets end-to-end in a long ribbon ascending the stairs and
entering into a centuries-old religious shrine built in traditional pagoda
style. The old Tokyo site was selected
to carry a spiritual message of electronic age homage to tradition. Ikuro Choh laments, “not only in Tokyo but
everywhere in Japan, the traditional and the old are being destroyed at a
ferocious speed, making the culture of paper, wood and bamboo evaporate like a
mist, allowing the ugly demons of concrete to appear in its wake.” With the sun rising over Japan to begin a new
day, the faxart angel rose over the Pacific Ocean to fly into yesterday. It arrived in the City of the Angels at 2:40
p.m. on October 4th. The
angel came together once again at the Museum of Contemporary Art in Los Angeles
on the day before it had visited Tokyo.
The cyberangel returned to New York five hours after it had
left. It had entered tomorrow before
flying forward into yesterday. Camera
crews for all the major television networks welcomed the cyberangel’s return
from its circumglobal flight. It was
broadcast on the national news from New York that evening. After having flown around the world, the
cyberangel simultaneously visited millions of homes across North America. Associated Press covered the faxart event,
too, sending the angel image and story over its wire services. Sixty newspapers carried the AP story, each
with a different headline. It even made
the front page in Billings (Montana), Marion (Ohio), and Selby (North
Carolina). AT&T made it the feature
of their annual report. They distributed
three million copies showing me, a gray-bearded Jewish artist sporting a Hasidic
black hat, welcoming the cyberangel on it return from its high tech flight
around our planet.
Lucy Lippard’s words in Mixed Blessings: New Art in a
Multicultural America best summarizes the postmodern concept behind the
computer angel story: “I am interested in cultural dissimilarities and the
light they shed on the fundamental human similarities,” as well as “art that
combines a pride in roots with an explorer’s view of the world as it is shared
by others.”
