YAACOV AGAM (Israeli, born 1928) The Ninth Power, 1970-71 Stainless steel, 70 3/4 x 70 x 70" Gift of Seymour H. Knox, 1971

Art as an expression of religious themes has dated from the beginning of human history. The first known art objects are female fertility figures dating from about 25,000 BC. Since then, artists have produced countless figurative, realistic artworks depicting biblical scenes. Many abstract artists of this century have created their artwork as an expression of their spiritual beliefs. In this respect, Yaacov Agam is in the company of other artists such as Wassily Kandinsky. Kandinsky wrote a book about spirituality in visual art as early as 1912; it was called Concerning the Spiritual in Art. Working much later, in the 1950s in Paris, Agam joined a group of artists, at first labeled the Nouvelle Tendence (New Tendency); they were interested in perceptual or Op art, an art that causes illusionary or perceptual effects in the eye. Critics have claimed that these artists wanted a parascientific role for art. Agam’s foremost emphasis in his work, however, has been spiritual.

The driving force and the source from which I draw my inspiration stem from my desire to give plastic and artistic expression to the ancient Hebrew concept of reality, which differs in its essence from that of all other civilizations, and which, to my mind, has never found its true artistic expression.

Agam was born in Palestine in 1928, the son of a rabbi. After studying art in Jerusalem, he traveled to Zurich and finally settled in Paris, where he continues to live and work. He has created both paintings and sculptures; his work, Freestanding Painting, 1971, in the Gallery collection, is a combination of both media and utilizes optical effects as well.

The Ninth Power is one of a number of sculptures in highly polished metals that occupied Agam during the early 1970s. There are nine parts in the work, each consisting of two tubular stainless-steel circles joined so that they meet at right angles. The Ninth Power can be installed in a variety of ways, so that the nine separate parts relate differently – back to back, upside down, or staggered. The highly polished metal reflects the space in which it is displayed, causing it to seem weightless or ethereal. The repeated circles bring to mind growth, expansion, and reflection as well as ripples of water and spirals. In the ancient Hebrew system of mysticism (Cabala), the number nine represented truth. In this piece, Agam’s search for forms to express the ancient Hebrew concepts of reality has resulted in a modern abstract art form. Its roots in the history of art are an expression of human spirituality, a theme traceable to ancient times.

— Mariann Smith

SUGGESTIONS FOR HANDS-ON ACTIVITIES AND DISCUSSION

• Ask your students to think of other ways in which the circle is used as an expression of an idea or emotion (There are many possible answers to this, but here is one hint: think of jewelry!).
  
  
• The artist intended this artwork to be displayed in many ways, as it consists of nine sets of joined circles. Have your students imagine that they are the curators of an art museum. Have them decide how they will display this artwork in a new show. Have your students write a proposal, and include a sketch of their ideas.
  
  
• Have students design a unit using a basic shape that is repeated several times (or assign a basic unit, such as a rectangle, triangle, etc.). Have them build their unit out of toothpicks, or popsicle sticks, or small twigs that they could collect on a walk outside. Use wood glue or Elmer’s glue. Have them make a number of identical units. Let them dry. Explain that they will build a sculpture without changing the individual units. Think about whether the sculpture will stand, hang like a mobile, or on a wall like a painting. Ask them to invent a title for their creation. Have each student present his/her sculpture, perhaps with a paragraph that he or she has written about it.
  
  
• Investigate origami (Japanese paperfolding), which uses units in some of its designs. References include:

Takahama, Toshi. Quick and Easy Origami. Japan: Shufunotomo Co., Ltd., 1988. A small book of easy folding projects for children.

Kasahara, Kunihiko. Origami Omnibus. Tokyo and New York: Japan Publications, Inc., 1988. A book with a little bit about everything, including unit-building and module-building exercises.