![]() ![]() Hearing it was thrilling and it seemed to be liked. The composition " Prophecy," was premiered on January 27th during the Winnipeg Symphony Orchestra's New Music Festival. Though I have made work (films and installations) that organize the nature and placement of sound, I was honored to recently be commissioned to compose a new 30-minute piece for the 70-member Winnipeg Symphony Orchestra. Relative to that, I recently had a profound surprise. MS: Thank you for the implication that I can still make something new. After 50+ years and dozens of films, how do you continue to find what is new in your art? In each of these works, the live viewing experience is an integral part of the work itself.ĪD: You are known to celebrate novelty in your film-making process, rendering each work its own in both process and form. There will be a "barrier" work entitled Site (1969/2017), which asks the spectator to stand in a particular place. There will also be Sight (1968) which is a two-sided sculpture (it has a "front" and a "back") with an aperture that integrates what is seen through it as part of each opposing surface. ![]() 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. Michael Snow is broadly considered one of the most significant experimental filmmakers. ![]()
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