Test Article One

When the Canadian artist Michael Snow left Toronto for New York in 1962, he had already established a reputation as an artist whose carreer was on the rise. When he returned to Toronto in 1971, that reputation had extended to Europe and the United States, and had been earned in a variety of artistic disciplines, including painting, filmmaking and avant-garde music. Snow was an aesthetic polymath and in New York he was able to investigate the discrete areas of the times, and not a reflection of divisible categories in Snow’s own artistic sensibility. From the start, his interests were uncontainable, and New York provided him with the opportunities he needed to develop fully his myriad affiliations. As he said in 1967, “My Paintings are done by a filmmaker, sculpture by a musician, films by a musician, music by a sculptor … sometimes they all work together.” The primary tool Snow used to effect that aesthetic migration was the outlined silhouette of a walking woman, “just a drawing,” he said, and “not a very good one either!”