Michael Snow

Snow is considered one of the most influential experimental filmmakers. Annette Michelson, in writing about Snow, his 1967 film Wavelength, and his films in general, speaks of the impact of Snow's films, placing viewers in a "position to more fully understand the particular impact of Snow's filmic work from 1967 on, to discern the reasons for the large consensus given" to Wavelength when it was honoured with the Grand Prize at the 1967 Experimental Film Festival EXPRMNTL 4 in Knokke, Belgium, and that "Wavelength, [appears] as a celebration of the 'apparatus' and a confirmation of the status of the subject, and it is in those terms that we may begin to comprehend the profound effect it had upon the broadest spectrum of viewers...." [3] Wavelength has been the subject of numerous retrospectives internationally. Film scholar Scott MacDonald says of Snow that "[f]ew filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow, whose Wavelength is probably the most frequently discussed 'structural' film."[4]

Wavelength has been designated and preserved as a masterwork by the Audio-Visual Preservation Trust of Canada[5] and was named #85 in the 2001 Village Voice critics' list of the 100 Best Films of the 20th Century .[6]

Snow's films have premiered in film festivals worldwide and five of his films have premiered at the Toronto International Film Festival (TIFF). In 2000, TIFF commissioned Snow, along with Atom Egoyan and David Cronenberg, to make a series of short films collectively titled Preludes, for the 25th Anniversary of the festival.

In his Village Voice review of Snow's 2002 film *Corpus Callosum, J. Hoberman writes that Snow's films are "[r]igorously predicated on irreducible cinematic facts [and] Snow's structuralist epics—Wavelength and La Région Centrale—[announce] the imminent passing of the film era. Rich with new possibilities, *Corpus Callosum heralds the advent of the next. Whatever it is, it cannot be too highly praised." *Corpus Calossum was screened at the Toronto, Berlin, Rotterdam, and the Los Angeles film festivals amongst others. In January 2003, Snow won the Los Angeles Film Critics Association, Douglas Edwards Experimental/Independent Film/Video Award for *Corpus Callosum.[7]

Originally a professional jazz musician, Snow has a long-standing interest in improvised music, as indicated by the soundtrack to his film New York Eye and Ear Control. As a pianist, he has performed solo and with other musicians in North America, Europe and Japan. Snow performs regularly in Canada and internationally, often with the improvisational music ensemble CCMC and has released more than a half dozen albums since the mid-1970s.[8][9] In 1987, Snow issued The Last LP (Art Metropole), which purported to be a documentary recording of the dying gasps of ethnic musical cultures from around the globe including Tibet, Syria, India, China, Brazil, Finland and elsewhere, with more thousands of words of pseudo-scholarly supplementary notes, but was, in fact, a series of multi-tracked recordings of Snow himself, who gave the joke away only in a single column of text in the disc's gatefold jacket, printed backwards and readable in a mirror.[10] One track, purported to be a document of a coming-of-age ritual from Niger, is a pastiche of Whitney Houston's song "How Will I Know."[11][12]

Snow, with Richard Serra, James Tenney and Bruce Nauman, performed Steve Reich's Pendulum Music on May 27, 1969 at the Whitney Museum of American Art.[13][14]

Interior of the Eaton Centre showing one of Michael Snow's best known sculptures Flight Stop, which depict Canada geese in flight.

Before Snow moved to New York in 1961, he began a long-term project that for six years would be his trademark: the Walking Woman. Martha Langford in Michael Snow: Life & Work describes this work as employing a single form that offered an infinite number of creative possibilities, the figure itself perceived variably as "a positive (a presence to be looked at) and a negative (an absence to be looked through)."[15]

Langford identifies duality as a guiding principle in Snow’s work. By combining materials and methods Snow creates hybrid objects that often defy classification.[16] A work which exemplifies Snow's testing of stylistic boundaries is his 1979 installation Flight Stop (also titled Flightstop), a site-specific work in Toronto's Eaton Centre mall, which looks like a sculptural representation of sixty geese, but is in fact an intricate combination of fibreglass forms and photographs of a single goose.[17]

In 1982, Snow sued the corporate owner of the Toronto Eaton Centre for violating his moral rights by altering Flight Stop. In the landmark case Snow v Eaton Centre Ltd, the Ontario High Court of Justice affirmed the artist's right to the integrity of their work. The operator of the Toronto Eaton Centre was found liable for violating Michael Snow's moral rights by putting Christmas bows on the work.[18][19]

Snow's works have been in Canadian pavilion at world fairs since his Walking Women sculpture was exhibited at Expo 67 in Montréal. His recent bookwork BIOGRAPHIE of the Walking Woman / de la femme qui marche 1961-1967 (2004) was published in Brussels by La Lettre vole. It consists of images of the public appearances of his globally famous icon.

Anarchive2: Digital Snow describes Michael Snow as "one of the most significant artists in contemporary art and cinema of the past 50 years." This 2002 DVD was initiated by Paris’ Centre Pompidou and was produced with the support of la foundation Daniel Langlois, Université de Paris, Heritage Canada, the Canada Council, Téléfilm Canada and Montreal’s Époxy. It is an encyclopedia of Snow's works across media, browsed in a manner inimitably and artfully created by Snow. Its 4,685 entries include film clips, sculpture, photographs, audio and musical clips, and interviews.

Université de Paris I, Panthéon-Sorbonne (2004), Emily Carr Institute, Vancouver (2004) Nova Scotia College of Art and Design, Halifax (1990), University of Toronto (1999), University of Victoria (1997), Brock University (1975).

• Visiting Artist/Professor at MAPS (Master of Art in Public Sphere), Ecole Cantonale d’Art du Valais, Sierre, Switzerland (February 2005, January 2006)
• Visiting Artist/Professor at L’école Nationale Supérieure d’Art de Bourges, France. (December 2004, May 2005)
• Visiting Artist/Professor, École nationale supérieure des Beaux-Arts, Paris, 2001
• Visiting Artist/Professor, le Fresnoy, Tourcoing France, 1997-8
• Visiting Professor, l'Ecole Nationale de la Photographie, Arles France, 1996
• Visiting Professor, Princeton University, 1988
• Professor of Advanced Film, Yale University, 1970
• CCMC artists in residence, La Chartreuse, Avignon Festival, France, 1981

• Gershon Iskowitz Prize, 2011[22]
• Los Angeles Film Critics Association Award for Independent/Experimental Film and Video Award for "*Corpus Callosum", 2002
• Queen’s Golden Jubilee Medal, 2002
• Governor General’s Award in Visual and Media Arts, 2000
• Chevalier de l'ordre des arts et des lettres, France, 1995
• Los Angeles Film Critics Association Award for Independent/Experimental Film and Video Award for "So Is This", 1983
• Guggenheim Fellowship, 1972
• Grand Pix of the Knokke Experimental Film Festival for "Wavelength", 1967
• Member, Royal Canadian Academy of Arts[23]