Sherrie Levine: After Walker Evans

Sherrie Levine (American, born 1947)
After Walker Evans: 4, 1981
Gelatin silver print, 12.8 x 9.8 cm (5 1/16 x 3 7/8 in.)

In the late 1970s and early 1980s, a group of artists including Cindy Sherman, Richard Prince, and Sherrie Levine—at the time dubbed the “Pictures” generation—began using photography to examine the strategies and codes of representation. In reshooting Marlboro advertisements, B-movie stills, and even classics of Modernist photography, these artists adopted dual roles as director and spectator. In their manipulated appropriations, these artists were not only exposing and dissembling mass-media fictions, but enacting more complicated scenarios of desire, identification, and loss.

In 1981, Levine photographed reproductions of Depression-era photographs by Walker Evans, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper. The series, entitled After Walker Evans, became a landmark of postmodernism, both praised and attacked as a feminist hijacking of patriarchal authority, a critique of the commodification of art, and an elegy on the death of modernism. Far from a high-concept cheap shot, Levine’s works from this series tell the story of our perpetually dashed hopes to create meaning, the inability to recapture the past, and our own lost illusions.

Sherrie Levine (American, born 1947)
After Walker Evans: 1, 1981
Gelatin silver print, 8.6 x 12.9 cm. (3 3/8 x 5 1/16 in.)

Sherrie Levine (American, born 1947)
After Walker Evans: 10, 1981
Gelatin silver print, 9.6 x 12.7 cm. (3 3/4 x 5 in.)

Sherrie Levine (American, born 1947)
After Walker Evans: 11, 1981
Gelatin silver print, 12.9 x 10.2 cm. (5 1/16 x 4 in.)

http://www.metmuseum.org

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In 1936 Walker Evans photographed the Burroughs, a family of sharecroppers in Depression era Alabama. In 1979 in Sherrie Levine rephotographed Walker Evans’ photographs from the exhibition catalog “First and Last.” In 2001 Michael Mandiberg scanned these same photographs, and created AfterWalkerEvans.com and AfterSherrieLevine.com to facilitate their dissemination as a comment on how we come to know information in this burgeoning digital age.

Here on AfterSherrieLevine.com you will find a browsable selection of these images. Links to the high-resolution exhibition-quality images to download and print out. Along with a certificate of authenticity for each image, which you print out and sign yourself, as well as directions on how to frame the image so that it will fulfill the requirements of the certificate.

By building the image’s URL into the title – the image to the left is “Untitled (AfterSherrieLevine.com/2.jpg)” – the images are locatable and downloadable by anyone who sees or reads about the image. By distributing the images online with certificates of authenticity, the images are accessible by anyone. Unlike the work of the late Felix Gonzalez-Torres ‹ known for his spills of candy and stacks of paper from which the viewer can take a piece of, though the sculpture stays complete because the owner possesses the certificate of authenticity, the right to reproduce ‹ the certificates here are used to insure that each satellite image be considered with equal authenticity, not the opposite. This is an explicit strategy to create a physical object with cultural value, but little or no economic value.

www.aftersherrielevine.com

Barbara Kruger

Barbara Kruger
Untitled (Your body is a battleground), 1989
photographic silkscreen on vinyl
112 x 112 in. (284.48 x 284.48 cm), The Broad

Barbara Kruger addresses media and politics in their native tongue: tabloid, sensational, authoritative, and direct. Kruger’s words and images merge the commercial and art worlds; their critical resonance eviscerates cultural hierarchies — everyone and everything is for sale. The year 1989 was marked by numerous demonstrations protesting a new wave of antiabortion laws chipping away at the 1973 Roe v. Wade Supreme Court decision. Untitled (Your body is a battleground) was produced by Kruger for the Women’s March on Washington in support of reproductive freedom. The woman’s face, disembodied, split in positive and negative exposures, and obscured by text, marks a stark divide. This image is simultaneously art and protest. Though its origin is tied to a specific moment, the power of the work lies in the timelessness of its declaration.

About Barbara Kruger
The large, bold artworks of Barbara Kruger assimilate words and images from the deluge of contemporary mass media. Employing media effects and strategies, Kruger creates her own sexual, social, and political messages, challenging the stereotypical ways mass media influences society’s notions about gender roles, social relationships, and political issues.

Untitled (Your body is a battleground), 1989, exemplifies Kruger’s interest in addressing and interpreting heated political issues of the moment. Using a silkscreened frontal photograph of a model’s face, the artist gives the image additional meaning by dividing the large canvas it occupies into sections; from left to right, the bisected image reverses from positive to negative, and from top to bottom, the face is divided by the emblazoned slogan “Your body is a battleground.” Kruger critiques the objectified standard of symmetry that is applied to feminine beauty and perpetuated by media and advertising. The composition originally included more text and was designed as a poster for the massive pro-choice rally that took place on April 9, 1989, in Washington, D.C.

Untitled (If you’re so successful, why do you feel like a fake?), 1987, is a direct interrogation of the motivations of contemporary society—career building, money, and the appearance of success and good living. Kruger’s assertive display demands an answer from viewers. Unlike in advertising, which may ask a question to compel a purchase, Kruger’s work uses the same techniques to compel ethical change and reflection.

http://www.thebroad.org

Genpei Akasegawa’s 1000 Yen Note Incident

One of the most famous chapters of post-war Japanese art is Genpei Akasegawa’s 1000-yen Note Incident.

In 1963, the young han-geijutsu (‘Anti-Art’) artist had printed several hundred single-sided monochrome 1000-yen note semblances, mailing them in the post office’s cash envelopes as invitations to his exhibition of collage works in Tokyo. In the following months he made several thousand reproductions of the image, burning some of them in a performance and using others to wrap objects, like the bag pictured below. Nobody took much notice outside his own circle of artist friends.

The following year, the Tokyo Metropolitan Police launched a criminal investigation on Akasegawa, referring to an old, vaguely termed law prohibiting manufacture of objects with an exterior that “may be confused with currency.” This led to a highly publicised and drawn-out trial at Tokyo District Court which raised more provocative questions and reached more people than Akasegawa’s art works could ever have managed to do without the state intervention.

The case (which has been recounted in recent years by Reiko Tomii and William Marotti) necessitated a close consideration of the boundaries of legality and of art. Backed by a group of like-minded artists and critics, Akasegawa stressed the blatant unusability of his notes, arguing that they weren’t counterfeit because they weren’t pretending to be real or true – they only referred to real and true money (albeit aiming thereby to disrupt its imagined reality and truth). The uselessness of the notes gave them their status as art objects, but the court’s response was that what he did may well have been ‘art’, but that didn’t mean it wasn’t criminal. After two appeals, the supreme court upheld the lower court’s indictment in 1970, activating the artist’s sentence of three months incarceration and one year probation.

An ironic side effect of the incident was that it cemented the otherwise barely noticed work in the public consciousness, and in art history. The event is remembered as a forensic interrogation of the nature of representation, replication, imitation and simulation – which, it turns out, are all quite different things. Akasegawa named his notes ‘models’ – they weren’t intended as currency but as images of currency, money abstracted from monetary value.

The aforementioned Ming Dynasty bank notes were printed with warnings that forgery was punishable by death. This serves today as a reminder that due to the huge gulf between the low material value of a piece of paper and the high promised value of the state-issued symbol, the risk of counterfeit has been a concomitant part of every paper currency. One of Akasegawa’s responses to the trial was to create the Greater Japan Zero-yen Note (1967) (above), which was ‘money’ that made explicitly clear the fact that it had no monetary value. People were invited to exchange three hundred real yen with him for an ‘original’ zero-yen note, his ambitious idea being that once he swapped it all, there would be no ‘real’ money issued by the state left in circulation.

A member of the avant-garde art collectives Neo Dada (initially Neo Dadaism Organisers) and Hi Red Centre, Akasegawa was associated with the radical han-geijutsu or ‘Anti-Art’ movement of the 1950s and 60s. In later years he would develop a theory of cho-geijutsu or ‘Hyper-Art’, which was less overtly political but would continue to seek intersections of the spaces of art and daily life, and interrogate notions of individual authorship and originality.

He also went on to be a prolific author under the pen name Katsuhiko Otsuji, and wrote the screenplay for the 1989 film Rikyū (by Hiroshi Teshigahara of Woman in the Dunes fame), which chronicles the life of the sixteenth century master of the Japanese tea ceremony. At one point in the film, Sen no Rikyū looks upon a statue made in his image and says, “I now see that I am little more than an effigy myself.” Here, the copy doe not reinforce the originality of the original – in Baudrillard’s terms, the copy suffices to “render both artificial.” This harks back to the institutionalised fear that abounds around semblances of money; mechanical reproductions of mechanical reproductions, they threaten to destabilise the consensual authority of money, and the precarious apparatus of faith required for homogenised symbolic value to function.

http://keithwhittle.org

Shower Scene From “Psycho”

The “shower scene” was shot from December 17 through December 23, 1959. The three-minute scene features 77 different camera angles — most of which are extreme close-ups — and includes 54 cuts.

Modern Art Movements: Appropriation and Pop Art

Vertical Video Syndrome

APPROPRIATION & CULTURE JAMMING

Appropriation in art is the use of pre-existing objects or images with little or no transformation applied to them. The use of appropriation has played a significant role in the history of the arts (literary, visual, musical and performing arts). In the visual arts, to appropriate means to properly adopt, borrow, recycle or sample aspects (or the entire form) of human-made visual culture. Notable in this respect are the Readymades of Marcel Duchamp.

Inherent in our understanding of appropriation is the concept that the new work recontextualizes whatever it borrows to create the new work. In most cases the original ‘thing’ remains accessible as the original, without change. Wikipedia

Culture jamming (sometimes guerrilla communication) is a tactic used by many anti-consumerist social movements to disrupt or subvert media culture and its mainstream cultural institutions, including corporate advertising. It attempts to “expose the methods of domination” of a mass society to foster progressive change.

Culture jamming is a form of subvertising. Many culture jams are intended to expose questionable political assumptions behind commercial culture. Tactics include re-figuring logos, fashion statements, and product images as a means to challenge the idea of “what’s cool.” Culture jamming often entails using mass media to produce ironic or satirical commentary about itself, commonly using the original medium’s communication method.

Culture jamming is employed as a reaction against social conformity. Prominent examples of culture jamming include the adulteration of billboard advertising by the Billboard Liberation Front (BLF), and contemporary artists such as Ron English. Culture jamming may involve street parties and protests. While culture jamming usually focuses on subverting or critiquing political and advertising messages, some proponents focus on a more positive (often musically inspired) form which brings together artists, scholars, and activists to create new types of cultural production that transcend—rather than merely criticize—the status quo. Wikipedia

The Yes Men

The Yes Men

The Yes Men

The Guerrilla Girls

[no title] 1985-90 Guerrilla Girls null Purchased 2003 http://www.tate.org.uk/art/work/P78815

The Guerrilla Girls

Do Women Have To Be Naked To Get Into the Met. Museum? 1989 Guerrilla Girls null Purchased 2003 http://www.tate.org.uk/art/work/P78793

The Guerrilla Girls

Banksy – Guantanamo

Banksy – No Loitering

Banksy in Palestine – Cut Out

Shepard Fairey

Shepard Fairey

Shepard Fairey

Red Room Poetry – “Poetry Object”

Stephen Vitiello

From composing electronic music to scoring experimental videos to making larger-scale public installations that create immersive soundscapes, sound artist Stephen Vitiello invites his audience to reinterpret sound. He took us on a sonic tour of his work including recordings from a 1999 residency at the World Trade Center and his sound installation at New York City’s High Line, “A Bell for Every Minute.”

Sound Artist, Stephen Vitiello, encourages you to “close your eyes to watch this talk.” A talk of sound, he explains that your eyes process images more slowly than your ears process sound. Close your eyes and listen well.

This talk was given at a local TEDx event, produced independently of the TED Conferences. It was filmed and edited by Tijo Media at the Carpenter Theatre at Dominion Arts Center in Richmond, VA.

#sound #listen #VCUarts #kineticimaging

Electronic musician Stephen Vitiello’s work is in the permanent collections of the Museum of Modern Art, the Whitney Museum, and the Museum of Contemporary Art of Lyon. His exhibitions include a site-specific work for New York City’s High Line and the 2006 Biennial of Sydney. Vitiello has been awarded a Guggenheim Fellowship for Fine Arts, Creative Capital funding for Emerging Fields, and an Alpert/Ucross Award for Music. In 2012, Australian Television produced the documentary, “Stephen Vitiello: Listening With Intent.” Originally from New York, Vitiello is now based in Richmond, VA where he is a professor of Kinetic Imaging at Virginia Commonwealth University.

This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx

Stephen Vitiello (b. 1964, New York City)
Solo exhibitions include All Those Vanished Engines, MASS MoCA, North Adams, MA (2011-(ongoing)); A Bell For Every Minute, The High Line, NYC (2010-2011); More Songs About Buildings and Bells, Museum 52, New York (2011); and Stephen Vitiello, The Project, New York (2006). He has participated in such group exhibitions as Soundings: A Contemporary Score, Museum of Modern Art, NY (2013); Sound Objects: Leah Beeferman and Stephen Vitiello, Fridman Gallery, New York (2014); September 11, PS 1/MoMA, LIC, NY (2011-2012); the 15th Biennale of Sydney, Australia (2006); Yanomami: Spirit of the Forest at the Cartier Foundation, Paris; and the 2002 Biennial Exhibition, Whitney Museum of American Art, New York (2002). Vitiello has performed nationally and internationally, at locations such as the Tate Modern, London; the San Francisco Electronic Music Festival; The Kitchen, New York; and the Cartier Foundation, Paris. In 2011, ABC-TV, Australia produced the documentary Stephen Vitiello: Listening With Intent. Awards include Creative Capital (2006) and a Guggenheim Fellowship (2011-2012). Vitiello is a professor of Kinetic Imaging at Virginia Commonwealth University. He lives and works in Richmond, Virginia.

“Electronic musician and sound artist Stephen Vitiello transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films, experimental video projects and art installations, collaborating with such artists as Nam June Paik, Tony Oursler and Dara Birnbaum. In 1999 he was awarded a studio for six months on the 91st floor of the World Trade Center’s Tower One, where he recorded the cracking noises of the building swaying under the stress of the winds after Hurricane Floyd. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment.”

Fondation Cartier pour l’art contemporain catalog for the exhibition
Ce qui arrive/Unknown Quantity, 2002

http://www.stephenvitiello.com

Dear Future Generations: Sorry

MJ HARPER – Portrait

“Calling Off the Wedding” Visual Poetry Video

Depression spoken words poetry Lyric Video

Neil Harbisson

http://www.ted.com Artist Neil Harbisson was born completely color blind, but these days a device attached to his head turns color into audible frequencies. Instead of seeing a world in grayscale, Harbisson can hear a symphony of color — and yes, even listen to faces and paintings.

Stop Motion – Poetry For Kids – Vincent V

Pauline Oliveros

Pauline Oliveros (1932-2014) has influenced American music extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations. During the mid-’60s she served as the first director of the Tape Music Center at Mills College, aka Center for Contemporary Music followed by 14-years as Professor of Music and 3 years as Director of the Center for Music Experiment at the University of California at San Diego. Since 2001 she has served as Distinguished Research Professor of Music in the Arts department at Rensselaer Polytechnic Institute (RPI) where she is engaged in research on a National Science Foundation CreativeIT project. Her research interests include improvisation, special needs interfaces and telepresence teaching and performing. She also serves as Darius Milhaud Composer in Residence at Mills College doing telepresence teaching and she is executive director of Deep Listening Institute, Ltd. where she leads projects in Deep Listening, Adaptive Use Interface. She is the recipient of the 2009 William Schuman Award from Columbia University for lifetime achievement. A retrospective from 1960 to 2010 was performed at Miller Theater, Columbia University in New York March 27, 2010 in conjunction with the Schuman award. She received a third honorary degree from DeMontort University, Leicester, UK July 23, 2010. Recent recordings include Pauline Oliveros & Miya Masoka and Pauine Oliveros & Chris Brown on Deep Listening.

http://www.deeplistening.org

The Dead – Billy Collins Animated Poetry

A Fire in My Belly • David Wojnarowicz

OFFICIAL STATEMENT

P.P.O.W and The Estate of David Wojnarowicz disagree with the Smithsonian’s decision to withdraw the artist’s 1987 film piece “A Fire in My Belly” from the National Portrait Gallery’s exhibition entitled “Hide/Seek: Difference and Desire in American Portraiture.” P.P.O.W has represented Wojnarowicz’s work since 1988 and maintained a close working relationship with the artist until his death in 1992. The gallery now represents his estate.

On behalf of the estate, the gallery would like to offer the artist’s words to illuminate his original intentions. In a 1989 interview Wojnarowicz spoke about the role of animals as symbolic imagery in his work, stating, “Animals allow us to view certain things that we wouldn’t allow ourselves to see in regard to human activity. In the Mexican photographs with the coins and the clock and the gun and the Christ figure and all that, I used the ants as a metaphor for society because the social structure of the ant world is parallel to ours.”

The call for the removal of “A Fire in My Belly” by Catholic League president William Donahue is based on his misinterpretation that this work was “hate speech pure and simple.” This statement insults the legacy of Wojnarowicz, who dedicated his life to activism and the arts community. David Wojnarowicz’s work is collected by international museums including the Museum of Modern Art, NY, The Whitney Museum, The Library of Congress, The New York Public Library, The San Francisco Museum of Modern Art, The Reina Sofia in Madrid, Museum Ludwig in Cologne, the Tokyo Metropolitan Museum of Photography, etc. Wojnarowicz is also an established writer; his most well known memoirs are Close to the Knives and Memories That Smell Like Gasoline, which are included on many university syllabi.

In 1990 the artist won a historic Supreme Court case, David Wojnarowicz v. American Family Association. The courts sided with Wojnarowicz after he filed suit against Donald Wildmon and the American Family Association, who copied, distorted and disseminated the artist’s images in a pamphlet to speak out against the NEA’s funding of exhibits that included art works of Wojnarowicz and other artists. We are deeply troubled that the remarks, which led to the removal of David’s work from Hide/Seek, so closely resemble those of the past. Wojnarowicz’s fight for freedom of artistic expression, once supported by the highest court, is now challenged again. In his absence, we know that his community, his supporters, and the many who believe in his work will carry his convictions forward.

P.P.O.W Gallery

FILMATIC POETRY -THE DREAM

Rapture

HAVING INTENDED TO MERELY PICK ON AN OIL COMPANY, THE POEM GOES AWRY: a poem by Bob Hicok

a poem that will change your perspective on life

Testify | A Visual Poem of Trout Fishing

Vito Acconci

Centers – 1971

Vito Acconci
B. 1940, BRONX, NY
Vito Acconci was born in 1940 in the Bronx, New York. He earned a BA with a major in literature from Holy Cross College in Worcester, Massachusetts, in 1962. Two years later, he completed an MFA in writing at the University of Iowa in Iowa City. After returning to New York, he went on to develop a diverse body of work in poetry, criticism, Performance art, sound, film and video, photography, and sculpture.

In the second half of the 1960s, Acconci’s work was centered on poetry and language. In 1969 he began using photography to document various actions, such as jumping, bending, and falling, that he executed in order to understand how his body moved in space. Also in 1969 he performed Following Piece, in which he followed passersby on the street until they entered private spaces. From 1969 to 1974 he continued to explore movement in space, using film and video and adding text panels to his photographs documenting his actions. Some of his performances questioned the nature of gender; other works interjected the private realm into public space. During the 1970 exhibition Information at the Museum of Modern Art in New York, for example, he had his mail forwarded to the museum and went there every day to open it. In Seedbed (1972), he masturbated, he claimed, under a temporary floor at the Sonnabend Gallery in New York, while visitors walked overhead and heard him speaking. In the second half of the 1970s, some of Acconci’s works were comprised solely of his speech on audiotape, and many of his performances forced strangers to interact with one another.

In the late 1970s, Acconci began making sculptures referencing architecture and furniture. From 1980 on, some of his sculptures demanded viewer participation: to complete pieces shaped like simple houses, for example, viewers pulled ropes that erected the four walls. Subsequent works, most installed outdoors, were meant to be sat on or played upon. The scale of Acconci’s sculptures continued to grow, until he was making public art on a grand scale. Since the late 1980s, the artist has worked with Acconci Studio, located in Brooklyn, New York. This collaborative group, which includes designers in addition to Acconci, develops several public artworks and architectural projects annually. On his own and with Acconci Studio, Acconci has produced works for several college campuses and for airports in Philadelphia and San Francisco. Personal Island, designed for Zwolle, the Netherlands (1994), and Island in the Mur, for Graz, Austria (2003), float in bodies of water; the latter includes a theater and a playground.

Acconci has taught at numerous institutions, among them the California Institute of the Arts in Valencia, Nova Scotia College of Art & Design in Halifax, San Francisco Art Institute, School of the Art Institute of Chicago, School of Visual Arts in New York, University of North Carolina at Chapel Hill, and Yale University in New Haven.

Since his first solo show in 1969, at the Rhode Island School of Design in Providence, Acconci has participated in numerous exhibitions. Retrospectives have been organized by the Stedelijk Museum in Amsterdam (1978) and the Museum of Contemporary Art in Chicago (1980). Print retrospectives have been mounted by Landfall Press in New York (1990) and the Gallery of Art at the University of Missouri in Kansas City (1994). Acconci’s achievements have been recognized with fellowships from the National Endowment for the Arts (1976, 1980, 1983, and 1993), John Simon Guggenheim Memorial Foundation (1979), and American Academy in Rome (1986). He has also received the International Sculpture Center’s Lifetime Achievement Award (1997) and two New York City Art Commission Awards for Excellence in Design (1999 and 2004). He was a finalist for the Hugo Boss Prize in 2000. Acconci lived in Brooklyn, New York until his death on April 27, 2017.

https://www.guggenheim.org

SYMPHONIE CINÉTIQUE -THE POETRY OF MOTION FILM

This film presents the wonderful journey that media artist Joachim Sauter (ART+COM) and composer Ólafur Arnalds ventured on together at MADE, that culminated with the creation and performance of this interdisciplinary Gesamtkunstwerk.

The dialogue and exchange between these two craftsmen, each coming from a distinctly different discipline, resulted in a majestic clash of light, motion and sound.

Please dive in, let go and enjoy this wonderful moment – Joachim’s graceful kinetic pieces breathing and moving in harmony with the touching music composed by Olafur.

Film by: Matthias Maercks

About MADE

MADE is a creative platform for artists from various fields, located in the heart of Berlin.

It can be a gallery, a workspace, a studio, a stage, a laboratory, or a performance space – but most of all, it is a venue for interdisciplinary projects that invites artists to step out of their artistic routines.

The goal of MADE is to enable a new kind of creative work by bringing together different artistic fields and offering a workspace and an inspiring biotope that allows new things to happen.

MADE was founded in early 2010 by German contemporary artist tadiROCK, her partner Nico Zeh and ABSOLUT Vodka, a visionary brand that fosters creative collaborations for over 30 years.

Michael Snow

Michael Snow’s extensive and multidisciplinary oeuvre includes painting, sculpture, video, film, sound, photography, holography, drawing, writing, and music. His work explores the nature of perception, consciousness, language, and temporality. Snow is one of the world’s leading experimental filmmakers, having inspired the Structural Film movement with his groundbreaking film Wavelength (1967).

Snow was born in 1928 in Toronto, where he lives and works today. He has received honorary degrees from the University of Toronto (1999), the University of Victoria (1997), the Nova Scotia College of Art and Design (1990), and Brock University (1975).

Snow has received several prestigious awards including: the Gershon Iskowitz Prize (2011), the Guggenheim Fellowship (1972), the Order of Canada in (1982), and the Chevalier de l’ordre des arts et des lettres, France (1995, 2011). There has been a great deal of scholarship focusing on Snow, including the multi-volume Michael Snow Project published in 1994 by the Power Plant and the Art Gallery of Ontario, both in Toronto, to accompany four simultaneous exhibitions at the two venues that same year.

Back and Forth (1969) – excerpt 1

Recent solo exhibitions include Sequences at La Virreina Image Centre in Barcelona, Spain (2015), Michael Snow: Photo-Centric at the Philadelphia Museum of Art (2014), Michael Snow: Objects of Vision, Art Gallery of Ontario, Canada (2012), Solo Snow: Works of Michael Snow, Akbank Sanat, Turkey (2012), Michael Snow, Vienna Secession, Austria (2012), In the Way, àngels barcelona, Barcelona (2011), and Solo Snow, Le Fresnoy, France (2011).

Snow’s work has been included in countless group exhibitions, most recently including the Canadian Biennial (2012), Videosphere: A New Generation at the Albright-Knox Art Gallery, NY (2012), 1969 at MoMA PS1, NY (2009), and the Whitney Biennial, NY (2006), as well as exhibitions held for the reopening of both the Centre Pompidou, Paris (2000) and the Museum of Modern Art, New York (2005), the latter at which three works are currently installed. Snow’s work is in various private and public collections throughout the world, such as the Museum of Modern Art, New York; the Ludwig Museum, Austria and Germany; the Musée National d’Art Modern, Centre Pomidou, France; the Musée des Beaux Arts, Canada; the Art Gallery of Ontario, Canada; and the National Gallery of Canada.

Jack Shainman Gallery has represented Snow since 2004. Solo exhibitions held at the gallery include Michael Snow: A Group Show (2015); Michael Snow: In the Way (2012); and Michael Snow: Powers of Two (2004). Snow was also included in several group exhibitions at the gallery including Works on View (2009), Imposition (2005), and A Charge to Keep (2004).

http://www.jackshainman.com

It’s Not Too Late (Visual Poetry)

Flies to Honey

Go All the Way

Counting Up | Poetry Short