As Linda Yablonsky writes for ArtForum: "Nothing was polluted at Jack Shainman Gallery, where the structuralist Canadian filmmaker-artist Michael Snow was welcoming friends like Ken Jacobs, MoMA curator Barbara London, Performa director RoseLee Goldberg, the New Museum’s Massimiliano Gioni, and select others to a private preview of his first New York show in seven years. The show at the Jack Shaiman Gallery in Chelsea was enthusiastically-received and the opening well-attended by long-time friends of Michael and New York's art elite. "The work is an attempt to present only the movements of perception, not perception itself," explains Snow, "the art of looking at art."" Jack Shaiman Gallery, Program Notes. The gestures of viewing are revealed as the shifting focus of the spectator's gaze becomes fleetingly tangible and physically manifested through the piece. The light projections simulate the varying ways a person might look at a rectangular wall-mounted artwork by digitally mimicking and essentializing the movement of the eyes. " The Viewing of Six New Works is a new seven-part projection which draws on Snow's oeuvre to examine the nature of perception and the physical relationship of the artwork to the viewer. Having seen Michael play music on dozens of occasions Greg knew Michael to be a fantastic pianist and a mischevious player of the Octave CAT synthesizer, so the idea of Michael performing the motion of the rectangle was quite natural versus other methods such as keyframing or stop-frame motion. He took one of the cutout rectangles and slid it around its frame to demonstrate how the more authentic approach would be to perform this movement. Michael continued that for this to work it couldn't be key-framed animation as that would look fake.
MICHAEL SNOWE LINGO LIVE HOW TO
How do we look when we look at art and how to represent that? Essentially, each 'piece' wasn't the actual work of art but the way a viewer might look looking at that work. He described that he was looking for a way to animate these to represent the way we look at art.
Michael arrived at the studio with a folder of well-defined specs - drawings of dimensioned rectangles, 6 of them, all differently proportioned to represent 6 new works. PRISMS led to the development of Houdini, subsequently evolving into TouchDesigner at Derivative. Greg Hermanovic's prior experience working with Snow was in producing the 74 special effects for *Corpus Callosum using PRISMS from Side Effects Software, of which Greg is a co-founder. Whatever it is, it cannot be too highly praised.” Rich with new possibilities, * Corpus Callosum heralds the advent of the next. Hoberman writes for Village Voice : “Rigorously predicated on irreducible cinematic facts, Snow's structuralist epics- Wavelength and La Région Centrale-announced the imminent passing of the film era. In his 2002 review of * Corpus Callosum, J. The following quote possibly most succinctly describes what I'm getting at: There's also a pronounced sense of play and testing in the way the artist relates what he's thinking about. Snow's work has generally been received as groundbreaking, or, as breaking into future grounds is perhaps even more to the point. These influences would emerge several years later in the music and sound pieces I made." However the principal appeal of this work was its central obscurity whereby nothing was totally clear, like a puzzle that was deliberately impossible to resolve. In particular I was drawn to its organization of time, the relationship this had to technology and process, and the uncompromising structural linearity of the film. "I first saw Michael Snow's film Wavelength at college when I was studying experimental film and video and was immediately mesmerized by this work. Many artists have attributed Snow's work to having changed the course of their lives and the art they've gone on to make as Mark Fell the multi-disciplinary artist who is also one half of SND tells us here. The thrill of working with Michael Snow will be self-evident to those already familiar with the artist and his highly influential body of work which spans more than five decades. Canadian filmmaker-artist Michael Snow came to the Derivative studio a few months ago to see Greg Hermanovic about a way to realise a piece he had in mind for an upcoming solo show in New York.
0 kommentar(er)
