![]() ![]() Another video projection work, Observer (1974) images the viewer, him/herself, as a 2 dimensionalized image. I make a wall of white rectangular boxes (sometimes reused museum plinths) that when the live image from the exterior is projected on, is distorted according to the arrangement of the boxes. MS: The Guggenheim exhibition will have two moving image works: The Corner of Braque and Picasso Streets (2009) which projects "live" video from the exterior of the building on a wall, which is constructed by me for each presentation of the piece. But, painters have made great sculpture (Picasso, Matisse) and often uncalled-for uses of a medium extend the definition of that medium.ĪD: What will you exhibit in Closed Circuit, upcoming at the Guggenheim Museum Bilbao? Conceptually and technically, how do each of your works lead into the next? The main qualities of a medium and its "matter" have been my stimulus: light and duration for film and video, the "objectness" of a work of sculpture. MS: I have had problems with that quote ever since I said it (in 1967) because I am, in practice, kind of a purist relative to individual mediums. Bookwork, 22.5 x 17.7 x 2 cm (320 pages), 8.875 x 7 x 0.75 inches (320 pages). Published by the Press of the Nova Scotia College of Art and Design, Halifax / New York University Press, New York. Courtesy of Michael SnowĪD: You have said: “My paintings are done by a filmmaker, sculpture by a musician, films by a painter sometimes they all work together." How does the variation in perspective allow more objectivity and more interesting alchemy in the resultant art? Art Gallery of Ontario, TorontoĬover To Cover, 1975. 80 laminated black-and-white photographs, on adhesive tape grid 8.0 x 10.0 inches (each photograph). Michael Snow pictured with Transformer. Photograph by Craig BoykoĨ x 10, 1969. Wood, varnish, rope, cardboard, height adjustable x 193.0 x 4.7 inches tapering to a point. Perhaps there is "visual representation" in those of my sculpture that seek to direct the viewer's seeing of, or through, the object, for example Scope (1967) or Transformer (1982). Perception of the work is the on-lookers department. Michael Snow: I try to make the work a guide to perceiving it. ArtDependence spoke with Snow to understand the nuances of his filmmaking, the course of his body of work and what lies ahead in his future endeavors.ĪrtDependence Magazine: How do you define the interplay between perception and visual representation? How does your work in distinct mediums realize these concepts differently? Snow’s upcoming show Closed Circuit at the Guggenheim Museum Bilbao will exhibit a range of works from different periods in his five-decade career. His art addresses perception through diverse mediums, employing an exploratory approach to represent his subject matter. Snow’s immersion in the arts also includes painting, sculpture and his background as a professional jazz musician. Among his renowned films, Wavelength and La Région Centrale are two of the best-known, the former being recognized as a landmark in avant-garde cinema. He even carried a life-size version of her to photograph around New York City.Michael Snow is broadly considered one of the most significant experimental filmmakers. Over time, Snow presented this woman in various forms, altering her dimensions, shape, position, color, and material. ![]() The Walking Woman silhouette began as a five-foot cardboard cutout in the shape of a woman in forward motion, arms swinging. This process is especially apparent in Snow’s iconic series, Walking Woman, a trademark of his popularized in the 1960s. Experimentation was essential to Snow’s identity as an artist, as he constantly re-interpreted his practice, playfully producing iterations of a single image through different materials to convey new meanings. Wearing these many creative hats, Snow explored how these disciplines inform one another, challenging conventional genres and establishing himself within the avant-garde movement of the twentieth century. Michael Snow’s artistic brilliance is celebrated in Life Survey (1955-2020), an exhibition highlighting his career working across various mediums as a painter, photographer, sculptor, musician, author, and filmmaker.
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