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[[File:Angels ascending print.jpg|alt=Rembrandt-inspired cyberangels ascending from the Land of Israel|thumb| 330x330px|Rembrandt-inspired cyberangels ascending from the Land of Israel]]
[[File:Angels ascending print.jpg|alt=Rembrandt-inspired cyberangels ascending from the Land of Israel|thumb| 330x330px|Rembrandt-inspired cyberangels ascending from the Land of Israel]]
Computer-generated variations of Rembrandt's angels were a recurring theme in Alexenberg's art from 1985 to 1990. They were exhibited in 1987 in ''High Tech/High Touch: Computer Graphics in Printmaking'' at Pratt Manhattan Gallery,{{Cn|date=May 2024}} ''The Artist and The Computer'' at the [[Bronx Museum of the Arts]],<ref>{{Cite book |last= |url=https://archive.org/details/ETC0197/page/19/mode/2up |title=The Second Emerging Expression Biennial: The Artist and The Computer |date=1987 |publisher=Bronx Museum of the Arts |year=1987 |pages=20 |via=Internet Archive}}</ref> at the [[Fine Arts Museum of Long Island]],<ref>{{Cite news |last=Delatiner |first=Barbara |date=1987-08-16 |title=Artist's 'Angel' to Fly by Computer |url=https://www.nytimes.com/1987/08/16/nyregion/artists-angel-to-fly-by-computer.html |work=New York Times |pages=11LI |id={{ProQuest|110679642}}}}</ref><ref>{{Cite news |last=Lipson |first=Karin |date=1987-08-28 |title=From Labyrinth to Computer |url=https://www.newspapers.com/article/newsday-suffolk-edition-from-labyrinth/146757631/ |access-date=2024-05-07 |work=Newsday (Suffolk Edition) |pages=S15}}</ref> and in a solo exhibition ''Computer Angels'' at The Fine Arts Center Art Gallery, [[Stony Brook University]].<ref>{{cite web |url=http://www.vasulka.org/archive/Vasulkas3/Installations/TheWest/WrittenMaterial/ComputerAngels.pdf |title=Computer Angels |date=November 24, 1987 |accessdate=August 23, 2022}}</ref> ''Digitized Homage to Rembrandt: Jacob's Dream'' (1986–87), an etching and aquatint from a computer-generated image, is in the collection of the [[Metropolitan Museum of Art]].<ref>{{Cite web |title=Mel Alexenberg {{!}} Digitized Homage to Rembrandt: Jacob's Dream |url=https://www.metmuseum.org/art/collection/search/388389 |access-date=2024-05-07 |website=The Metropolitan Museum of Art |language=en}}</ref>
Computer-generated variations of Rembrandt's angels were a recurring theme in Alexenberg's art from 1985 to 1990. They were exhibited in 1987 in ''High Tech/High Touch: Computer Graphics in Printmaking'' at Pratt Manhattan Gallery,{{Cn|date=May 2024}} ''The Artist and The Computer'' at the [[Bronx Museum of the Arts]],<ref>{{Cite book |last= |url=https://archive.org/details/ETC0197/page/19/mode/2up |title=The Second Emerging Expression Biennial: The Artist and The Computer |date=1987 |publisher=Bronx Museum of the Arts |year=1987 |pages=20 |via=Internet Archive}}</ref> at the [[Fine Arts Museum of Long Island]],<ref>{{Cite news |last=Delatiner |first=Barbara |date=1987-08-16 |title=Artist's 'Angel' to Fly by Computer |url=https://www.nytimes.com/1987/08/16/nyregion/artists-angel-to-fly-by-computer.html |work=New York Times |pages=11LI |id={{ProQuest|110679642}}}}</ref><ref>{{Cite news |last=Lipson |first=Karin |date=1987-08-28 |title=From Labyrinth to Computer |url=https://www.newspapers.com/article/newsday-suffolk-edition-from-labyrinth/146757631/ |access-date=2024-05-07 |work=Newsday (Suffolk Edition) |pages=S15}}</ref> and in a solo exhibition ''Computer Angels'' at The Fine Arts Center Art Gallery, [[Stony Brook University]].<ref>{{cite web |url=http://www.vasulka.org/archive/Vasulkas3/Installations/TheWest/WrittenMaterial/ComputerAngels.pdf |title=Computer Angels |date=November 24, 1987 |accessdate=August 23, 2022}}</ref> ''Digitized Homage to Rembrandt: Jacob's Dream'' (1986–87), an etching and aquatint from a computer-generated image, is in the collection of the [[Metropolitan Museum of Art]].<ref>{{Cite web |title=Mel Alexenberg {{!}} Digitized Homage to Rembrandt: Jacob's Dream |url=https://www.metmuseum.org/art/collection/search/388389 |access-date=2024-05-07 |website=The Metropolitan Museum of Art |language=en}}</ref>

===''Desert Earth and the South Pole''===
'''International Desert Earth Archives (IDEA)'''<ref>{{cite web | url=http://www.melalexenberg.com/artwork.php?id=52 | title=International Desert Earth Archives }}</ref>{{Self-published inline|date=December 2023}} This global earth-art project was created by Mel Alexenberg at MIT’s Center for Advanced Visual Studies. Earth from the 44 countries in the world that have deserts was collected through diplomatic channels. The earth samples themselves with maps and photographs of the collection sites and official government documents were displayed in a five panel art work exhibited in at The Jewish Museum in New York in 1988. It is in the collection of the Ashdod Art Museum in Israel.

'''Two Cosmic Pivots: Jerusalem at the South Pole'''
<ref>{{cite web | url=https://www.grandfatherofnfts.com/documents/cosmic-pivots | title=Cosmic Pivots }}</ref>{{Self-published inline|date=December 2023}} This environmental artwork juxtaposes the pivot point at the South Pole around which our planet rotates with Jerusalem, a pivot point from which spiritual energies radiate from the three Abrahamic religions—Judaism, Christianity and Islam. Alexenberg collected earth from two sites in Jerusalem that span two millennia, from the Western Wall where the Temple stood to the college Mercaz Harav founded by Israel’s first chief rabbi Kook. This mixture from the past and future was placed at the South Pole for the 1986 exhibition “Imagining Antarctica” at Nordico Stadtmuseum Linz, Austria.


===''Parentheses of Asia''===
===''Parentheses of Asia''===

Revision as of 02:48, 7 May 2024

Mel Alexenberg
Biofeedback-generated self-portrait created at MIT Center for Advanced Visual Studies
Born
Mel Alexenberg

1937 (age 86–87)
New York City, USA
NationalityAmerican-Israeli
Known forexperimental art

Mel Alexenberg (born February 24, 1937) is an American-Israeli artist, art educator, and writer recognized for his pioneering work exploring the intersections of art, science, technology and digital culture. He experimental with digital fine art prints in the 1980s that are in 30 museum collections worldwide, circumglobal cyberangel flights honoring Rembrandt in 1989 and in 2019.

Alexenberg has educated generations of young artists as professor at Columbia University and universities in Israel, research fellow at MIT Center for Advanced Visual Studies, dean at New World School of the Arts in Miami, and head of the art department at Pratt Institute where he taught the first course on creating art with computers. In Israel, he was Founding Head in 1977 of Ramat Hanegev College affiliated with Bar-Ilan University where he was professor of education. In 1971, he was Founding Director of the Center for Creative Learning, Experimental School of University of Haifa that continues to educate Israeli youth as The Open School more than half century later.

Early life and education

Mel (Menahem) Alexenberg was born to Abraham and Jeanne Alexenberg in New York City. His integration of art and science had its origins in his childhood summers in the Catskill Mountains studying the creatures of the forests and ponds and making drawings and paintings of them in their natural habitats and in imaginary worlds. In his teenage years, he would skip school and spend days at the MoMA, The Met, and the Whitney when it was in Greenwich Village.

He earned degrees in biology from Queens College, City University of New York in 1958 and in education from Yeshiva University in 1959. While working in science education and was test center coordinator for the American Association for the Advancement of Science curriculum project “Science: A Process Approach,” he studied at the Art Students League of New York and exhibited his paintings exploring the growth patterns of plants at Ligoa Duncan Gallery on Madison Avenue.

Alexenberg developed a way for children to create a simple computer described in his 1964 paper “The Binary System and Computers” published in the National Science Teachers Association journal Science and Children, now with his other papers in the Smithsonian’s Archives of American Art. He wrote the books Light and Sight[1][better source needed] and Sound Science[2][better source needed] inviting children to discover how their senses of sight and hearing reveal the secrets of light and sound.

In 1965, he began his doctoral studies at New York University excited about the artistic possibilities of digital technologies when the first computer plotter arrived at NYU. He was given access to the massive computer to create geometric pictures on rolls of paper on which he painted with colorful pigments in the ancient technique of painting with molten waxes. His computer-generated painting “Noise Control” was reproduced as the cover the April 1966 issue of International Science and Technology.[3][self-published source?] This was the first digital artwork in which a high tech computer generated image was transformed into a high touch painting.

Alexenberg was awarded an interdisciplinary doctorate in art, science, and cognitive psychology from NYU in 1969 for his research on creativity in art and science. He expanded his doctoral dissertation into a book Aesthetic Experience in Creative Process[4] that includes his interviews of prominent American artists and scientists who described how creativity shaped their work.

Works

Alexenberg's papers are in the collection of the Archives of American Art of the Smithsonian Institution.[5]

Alexenberg was a fellow at the MIT Center for Advanced Visual Studies in the 1980’s.[6] In 1985, he and his his son Ari offered “Mind-Leaping Workshops” to corporate executives, intended to develop creative thinking.[7]

Digitized Homage to Rembrandt

Rembrandt-inspired cyberangels ascending from the Land of Israel
Rembrandt-inspired cyberangels ascending from the Land of Israel

Computer-generated variations of Rembrandt's angels were a recurring theme in Alexenberg's art from 1985 to 1990. They were exhibited in 1987 in High Tech/High Touch: Computer Graphics in Printmaking at Pratt Manhattan Gallery,[citation needed] The Artist and The Computer at the Bronx Museum of the Arts,[8] at the Fine Arts Museum of Long Island,[9][10] and in a solo exhibition Computer Angels at The Fine Arts Center Art Gallery, Stony Brook University.[11] Digitized Homage to Rembrandt: Jacob's Dream (1986–87), an etching and aquatint from a computer-generated image, is in the collection of the Metropolitan Museum of Art.[12]

Parentheses of Asia

Sand from Tel Aviv, west coast of Asia exchanged with sand from Chicura, Japan, east coast of Asia.

Mel Alexenberg marked the Parentheses of Asia[13][self-published source?] from Israel to Japan. He collected sand from the beach in Tel Aviv, the west coast of Asia, flew with it to Chikura, a fishing village in Japan at the west coast of Asia. He scored a six-foot parenthesis in the black volcanic sand on the beach in Chikura at the western coast of Asia that he filled with the yellow sand of Tel Aviv. He returned to Tel Aviv with the sand of Chikura that filled the opposite parenthesis that he scored on the Tel Aviv beach. He documented the parentheses of Asia as a serigraph edition that he created and printed at The Israel Museum affiliated graphics center. The surrounding text is written in Hebrew, Japanese, and English. It is in the collection of the Israel Museum and the Baltimore Museum of Art [14] Maryland.

Four Corners of America

A series of eight artworks linking the four corners of United States was created by Alexenberg as the official artist of Miami’s Centennial[15] in 1996 when he was dean at New World School of the Arts. Sponsored by National Endowment for the Arts and American Airlines with the participation of the President of United States,[16] Alexenberg's artworks connected Miami, San Diego, Seattle, and Portland (Maine).[17][self-published source?] Mayors of these four cities came together in Miami for the opening of his exhibition of multimedia artworks and models of four living sculptures to be photographed as one from outer space.[18]

Ambassadors of Israel and USA in Prague listen to Alexenberg explain his aesthetic peace plan aided by his painting derived from Islamic art

A digital artwork was an up-link satellite performance using ABC-TV technology in which dancers at the four corner cities dance with each other in real time, interacting in cyberspace on TV screens throughout North America. In a down-to-earth artwork, Mel Alexenberg collected earth from the four corners, mixed them, and placed them in Jerusalem where he took earth that he placed at the geographical center of USA in Lebanon, Kansas.

Cyberangels: Aesthetic Peace Plan for the Middle East

Alexenberg’s exhibition Cyberangels: Aesthetic Peace Plan for the Middle East[19] in 2004 at the contemporary art gallery of the Jewish Museum in Prague proposed that peace in the Middle East can emerge from a fresh metaphor in which the Muslim world sees Israel’s existence as Allah’s will.

The ambassadors of the United States and Israel to the Czech Republic participated in the exhibition opening. The explanatory catalog of the exhibition was coupled by the artist’s statement in Leonardo: Journal of the International Society for the Arts, Sciences and Technology[20] (vol. 30, no. 3).

AT&T Circumglobal Cyberangel Flight

Alexenberg launches cyberangel from Rembrandt's studio to Israel Museum on circumglobal flight

An AT&T sponsored telecommunications art event[21][self-published source?] on October 4, 1989 honoring Rembrandt on the 320th anniversary of his death. Alexenberg launched a digitized image of a Rembrandt inspired cyberangel in 28 pages via fax on a circumglobal flight from New York to the Rembrandt House Museum in Amsterdam, Israel Museum in Jerusalem, University of the Arts in Tokyo, Museum of Contemporary Art in Los Angeles and back New York. After a five-hour flight around the planet, the deconstructed angel was reconstructed at its starting point.

Millions throughout North America watched the cyberangel return from its circumglobal flight over the major TV networks' broadcasts from New York . It was featured in sixty newspaper articles[22] and the AT&T annual report.

The AT&T cyberangel flight was preceded in 1987 by Alexenberg’s launching cyberangels from Long Island to connect it to the 48 states on mainland USA.[23]

LightsOROT: Spiritual Dimensions of the Digital Age

LightsOROT[24] is an interactive electronic art environment created by Mel Alexenberg in collaboration with Otto Piene and his colleagues and graduate students at MIT Center for Advanced Visual Studies to explore the spiritual dimensions of the digital age. At Yeshiva University Museum in New York from 1988–89, 25 interactive artworks were exhibited using laser animation, holography, fiber optics, biofeedback-generated imagery, computer graphics, interactive electronic media, and spectral projections.

ARTnews wrote: “Rarely is an exhibition as visually engaging and intellectually challenging as ‘LightsOROT.’[25] Its success lies in Alexenberg and Piene’s contributions.” The 113 page catalog includes a dialog on "Light, Vision and Art in Judaism"[26] between Alexenberg and Dr. Norman Lamm, President of Yeshiva University, and an introduction by Harvard University Professor Rudolf Arnheim.[27]

Writing

Books

The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness[28] (Intellect Books/University of Chicago Press, 2011, ISBN 978-1-84150-377-6), Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology and Culture[29] (Intellect Books/University of Chicago Press, 2008, ISBN 978-1-84150-191-8), The Future of Art in a Digital Age[30] (Intellect Books/University of Chicago Press, 2006, ISBN 1-84150-136-0), Through a Bible Lens: Biblical Insights for Smartphone Photography and Social Media[31] (HarperCollins, 2018, ISBN 978-1-595557124), Aesthetic Experience in Creative Process[32] (Bar-Ilan University Press, 1981, ISBN 965-226-013-4), Light and Sight[33] (Prentice-Hall, 1969), Sound Science[34] (Prentice-Hall, 1968), LightsOROT: Spiritual Dimension of the Electronic Age[24] (MIT and Yeshiva University Museum, 1988), and in Hebrew Dialogic Art in a Digital World (R. Mass Publishers, Jerusalem, 2008, ISBN 978-965-09-0227-8), in process Metaverses: Creating Spiritual and Virtual Worlds

Book Chapters

“Postdigital Relationships between Digital and Hebraic Writing,” Routledge Handbook of Digital Writing and Rhetoric,[35] and chapters in four books published by National Art Education Association: “From Science to Art: Integral Structure and Ecological Perspective in a Digital Age," Interdisciplinary Art Education: Building Bridges to Connect Disciplines and Cultures,[36] “Semiotic Redefinition of Art in a Digital Age,” Semiotics and Visual Culture: Sights, Signs, and Significance,[37] “Space-Time Structures of Digital Visual Culture: Paradigm Shift from Hellenistic to Hebraic Roots of Western Culture,” Inter/Actions/Inter/Sections: Art Education in a Digital Visual Culture,[38] “Legacy Thrones: Intergenerational Collaborations in Creating Multicultural Public Art,” Community Connections: Intergenerational Links in Art Education[39]

Journal Papers

“Art with Computers: The Human Spirit and the Electronic Revolution” The Visual Computer: International Journal of Computer Graphics,[40] “Postdigital Consciousness: A Paradigm Shift from Hellenistic to Hebraic Roots of Western Civilization,” Archithese: International Thematic Review of Architecture, “Ancient Schema and Technoetic Creativity,” Technoetic Arts: A Journal of Speculative Research,[41] “Cyberangels: An Aesthetic Peace Plan for the Middle East,” Leonardo: Journal of the International Society for the Arts, Sciences and Technology,[20] “Wright and Gehry: Biblical Consciousness in American Architecture,” Journal of Cultural Research in Art Education,[42] "An Interactive Dialogue: Talmud and the Net," Parabola: Myth, Tradition, and the Search for Meaning,[43] "Eruv as Conceptual and Kinetic Art," Images: Journal of Jewish Art.[44]

Personal life

Mel Alexenberg married Miriam Benjamin in 1959. Miriam was born in Suriname[45] and grew up on a farm in Israel. She is an artist who works in ceramics.[46][self-published source?]

Citations

  1. ^ Mel Alexenberg (1969). "Light and Sight". Prentice Hall.
  2. ^ Mel Alexenberg (1968). "Sound Science". Prentice Hall.
  3. ^ "First Digital Painting". Retrieved 2022-07-27.
  4. ^ Hubbe, Nanct (1984). "Aesthetic Experience in Creative Process by M. Alexenberg (review)". Leonardo. 17 (3): 223. Project MUSE 600420.
  5. ^ "Mel Alexenberg papers, circa 1950-1980 | Archives of American Art, Smithsonian Institution".
  6. ^ "Mel Alexenberg". Center for Advanced Visual Studies Special Collection. MIT. Archived from the original on 2020-09-29. Retrieved 2022-07-27.
  7. ^ Krasner, Jeff (29 April 1985). "Mind Leaping". The Boston Herald. Boston.
  8. ^ The Second Emerging Expression Biennial: The Artist and The Computer. Bronx Museum of the Arts. 1987. p. 20 – via Internet Archive.{{cite book}}: CS1 maint: date and year (link)
  9. ^ Delatiner, Barbara (1987-08-16). "Artist's 'Angel' to Fly by Computer". New York Times. pp. 11LI. ProQuest 110679642.
  10. ^ Lipson, Karin (1987-08-28). "From Labyrinth to Computer". Newsday (Suffolk Edition). pp. S15. Retrieved 2024-05-07.
  11. ^ "Computer Angels" (PDF). November 24, 1987. Retrieved August 23, 2022.
  12. ^ "Mel Alexenberg | Digitized Homage to Rembrandt: Jacob's Dream". The Metropolitan Museum of Art. Retrieved 2024-05-07.
  13. ^ "Mel Alexenberg - parentheses of asia: Chikura, japan & tel aviv, israel".
  14. ^ "Baltimore Museum of Art".
  15. ^ Clark, Stephen (June 20, 1994). "Invitation to participate". Letter to Norman B. Rice. City of Miami.
  16. ^ Clinton, Bill (January 16, 1996). "Notice of participation". Letter to Mel Alexenberg. The White House.
  17. ^ "Mel Alexenberg - four wings of america".
  18. ^ editorial (7 July 1995), "Four Corners Project", Portland Press Herald, Portland Maine: Lisa DeSisto
  19. ^ Židovské muzeum v Praze (2004-09-26). "Mel Alexenberg: Cyberangels Aesthetic Peace Plan For The Middle East | Židovské Muzeum V Praze". Jewishmuseum.cz. Retrieved 2022-07-27.
  20. ^ a b Alexenberg, Mel (June 2006). "Cyberangels: An Aesthetic Peace Plan for the Middle East". Leonardo. 39 (3): 185. doi:10.1162/leon.2006.39.3.185. S2CID 57570123.[non-primary source needed]
  21. ^ "Mel Alexenberg - at&t circumglobal angel flight".
  22. ^ "Atlanta Constitution". Atlanta Constitution. 1989-10-09.
  23. ^ Delatiner, Barbara (1987-08-16). "Artist's 'Angel' To Fly By Computer". The New York Times. Retrieved 2022-07-27.
  24. ^ a b "Lights OROT. Essays and Catalog of an Exhibition at the Yeshiva University Museum in New York City by the Center for Advanced Visual Studies, Massachusetts Institute of Technology". 14 May 2019.
  25. ^ Hayt-Atkins, Elizabeth (1 September 1988), "Lights Orot", Art News, 87 (7), New York: Penske Media Corporation
  26. ^ "Art in Judaism; The Blogs". Blogs.timesofisrael.com. 2020-06-02. Retrieved 2022-07-23.
  27. ^ Hershkowitz, Sylvia (January 31, 1988). Lights Orot. New York City: Yeshiva University. p. 1.
  28. ^ The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness - Second Edition, Alexenberg. Press.uchicago.edu. 2022-05-18. Retrieved 2022-07-27.
  29. ^ Educating Artists for the Future: Learning at the Intersections of Art, Science, Technology, and Culture, Alexenberg. Press.uchicago.edu. 2022-05-18. Retrieved 2022-07-27.
  30. ^ Future of Art in a Digital Age: From Hellenistic to Hebraic Consciousness, Alexenberg. Press.uchicago.edu. 2022-05-18. Retrieved 2022-07-27.
  31. ^ "Through a Bible Lens: Biblical Insights for Smartphone Photography and Social Media".
  32. ^ Hubbe, Nanct; Alexenberg, M. (1984). "Aesthetic Experience in Creative Process". Leonardo. 17 (3): 223. doi:10.2307/1575210. JSTOR 1575210.[non-primary source needed]
  33. ^ Mel Alexenberg. "Light and Sight". Prentice Hall.
  34. ^ "Sound Science".
  35. ^ Alexenberg, Mel (2018). "Autoethnographic Blogart Exploring Postdigital Relationships between Digital and Hebraic Writing". The Routledge Handbook of Digital Writing and Rhetoric. pp. 361–370. doi:10.4324/9781315518497-34. ISBN 978-1-315-51849-7.
  36. ^ Stokrocki, Mary (2005). Interdisciplinary Art Education: Building Bridges to Connect Disciplines and Cultures. National Art Education Association. ISBN 978-1-890160-31-9.[page needed]
  37. ^ digital culture - https://view.officeapps.live.com/op/view.aspx?src=https%3A%2F%2Fwww.cddc.vt.edu%2Faccs%2Feprints%2Fsemiotic.doc&wdOrigin=BROWSELINK
  38. ^ Alexenberg, Mel. "Chapter in the book: Inter/Sections/Inter/Actions: Art Education in a Digital Visual Culture, Space-Time Structures of Digital Visual Culture: Paradigm Shift from Hellenistic to Hebraic Roots of Western Civilization".[non-primary source needed]
  39. ^ Community Connections: Intergenerational Links in Art Education. National Art Education Association. 2004. ISBN 978-1-890160-26-5.[page needed]
  40. ^ Alexenberg, Mel (January 1988). "Art with computers: the human spirit and the electronic revolution". The Visual Computer. 4 (1): 1–3. doi:10.1007/BF01901073. S2CID 6721175.[non-primary source needed]
  41. ^ "Technoetic Arts: A Journal of Speculative Research".
  42. ^ Alexenberg, Mel (1 September 2003). "Wright and Gehry: Biblical Consciousness in American Architecture". Journal of Cultural Research in Art Education. 21 (1). doi:10.2458/jcrae.5006. S2CID 251084247.[non-primary source needed]
  43. ^ "Parabola 29:2 - Web of Life".
  44. ^ Alexenberg, Mel (2011). "Eruv as Conceptual and Kinetic Art". Images. 5 (1): 56–57. doi:10.1163/187180011X604373.[non-primary source needed]
  45. ^ "Growing up Jewish Where the Amazon Jungle Reaches the Atlantic Ocean".
  46. ^ "Embracing the Earth of Israel".
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