Agam

New York: Harry N. Abrams, Inc., Publishers, 1976. presumed First Edition, First printing. Hardcover. Very good/Good. 354 pages. Illustrations (many in color). Format is approximately 11.5 inches by 11 inches. DJ has a scratch and small tear at front and some soiling. Stamp on bottom edge. Artist's Credo. Biographical Outline, List of Exhibitions. Selected Bibliography. Index. Yaacov Agam (born 11 May 1928) is an Israeli sculptor and experimental artist best known for his contributions to optical and kinetic art. Agam's work is usually abstract, kinetic art, with movement, viewer participation and frequent use of light and sound. His best known pieces include "Double Metamorphosis III", and the "Fire and Water Fountain" in the Dizengoff Square in Tel Aviv. He is also known for a type of print known as an Agamograph, which uses lenticular printing to present radically different images, depending on the angle from which it is viewed. Agam had a retrospective exhibition in Paris at the Musée National d'Art Moderne, and at the Guggenheim Museum in New York. His works are held in numerous museum collections including the Museum of Modern Art and the Mildred Lane Kemper Art Museum. He was awarded the Comenius Medal by UNESCO for the "Agam Method" for visual education of young children. One of the best monographs on Agam. Text by Frank Popper. Includes 488 illustrations with 133 in color. Frank Popper (born April 17, 1918) is a historian of art and technology and Professor Emeritus of Aesthetics and the Science of Art at the University of Paris VIII. He has been decorated with the medal of the Légion d'honneur by the French Government. He is author of the books: Origins and Development of Kinetic Art, Art, Action, and Participation, Art of the Electronic Age and From Technological to Virtual Art. Popper documents the historical record of the relationship between technology and participatory forms of art, especially between the late 1960s and the early 1990s. Popper uses the term, virtual art, in reference to all the art made with the technical media developed at the end of the 1980s. These include human-machine interfaces such as visualization casks, stereoscopic spectacles and screens, generators of three-dimensional sound, tactile and power feedback systems, etc. All these technologies allowed immersion into the image and interaction with it. The impression of reality felt under these conditions was not only provided by vision and hearing, but also by the other bodily senses.