Written for Sight and Sound.
Manny Farber, one of his earliest critical defenders, once described Michael Snow to me as “a prince”, and there’s no question that he was a proud bohemian who carried his own sense of royalty within the art world with grace and style. European fans such as Jacques Rivette who mistook him for an “American” (he was born and died in Toronto) may not have understood that the state funding that allowed Snow to flourish in Canada wouldn’t have been as feasible in the U.S. It’s even been speculated that if Snow hadn’t filmed his 1967 Wavelength in a Manhattan loft during his extended New York sojourn, many of us might never have heard of him. It was basically the enthusiasm of New York critics—Farber, Jonas Mekas, Annette Michelson, and, perhaps most of all, P. Adams Sitney and his term “structural film”—that placed Snow on the map, even while such reference sources as Ephraim Katz’s A Film Encyclopedia and David Thomson’s A Biographical Dictionary of the Cinema failed to acknowledge his existence.
Starting out as a self-taught jazz pianist who evolved from Dixieland to bebop (and later, to free jazz), Snow turned next to painting, sculpture, instillations, photography, film (starting in animation), video, holography, audio, and conceptually shaped books such as Cover to Cover (1975) and High School (1979). Read more