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A to Z, 1956

Image of several frames of a film strip, displayed vertically, on top of a blue background. On film is an animated scene by Michael Snow of tables and chairs shaded with crosshatching with a crescent moon overhead.

Michael Snow, A to Z, 1956, 16 mm film, 6 minutes, Collection of the Cinémathèque québécoise, Montreal. Photo credit: Cinémathèque québécoise.

Snow made his first film, A to Z, while working at the animation firm Graphic Associates in Toronto. He received a job there after meeting the head of the firm, George Dunning—who later directed the Beatles’ 1968 film Yellow Submarine—at one of Snow’s exhibitions. A to Z is a cutout animation of tables and chairs attempting to mate with each other. The theme of tables and chairs recurs in several other works by Snow from this period. The crosshatch drawings of these objects in A to Z were influenced by the Expressionist style of Swiss-German artist Paul Klee. Snow did not return to experimental film until 1964, when he made New York Eye and Ear Control. Watch Michael Snow’s A to Z here.

Gallery

Painting by Michael Snow of a jazz band playing their instruments. Their bodies are made of exaggerated curved shapes with some Cubist features.

Jazz Band, 1947

Abstract painting by Michael Snow of several items on a table, drawn in a flattened style. A red goblet is near several bottles on a round white circle, representing a table, with its four legs splayed and cut off by the edges of the canvas.

Still Life: Red Goblet, August 1952

Painting by Michael Snow of a classical concert done in a flat Cubist style. A performer in a blue suit stands in front of an audience and twists his head and body away from them to instead face the viewer. The painting has a mottled texture made with mostly red and blue paint.

Colin Curd About to Play, 1953

Painting by Michael Snow of interweaving lines, some in almond shapes to reference the human eye, forming a male figure seated at a table and a nude woman standing next to him.

Ocul, 1954

Sculpture by Michael Snow of a bronze-coloured metal table with tall, thin legs displaying a collection of found objects on top.

The Table, 1955

Painting by Michael Snow of a table and chairs composed of thick, opaque brushstrokes in black and bold red. The surface of the table, represented by the large central block of black paint, merges with the chairs to create an almost abstract shape.

Table and Chairs No. 1, 1956

Image of several frames of a film strip, displayed vertically, on top of a blue background. On film is an animated scene by Michael Snow of tables and chairs shaded with crosshatching with a crescent moon overhead.

A to Z, 1956

Abstract painting by Michael Snow of blue, blocky forms that appear to be morphing and disintegrating on top of an off-white background.

Move, 1957

Abstract painted sculpture by Michael Snow consisting of a blue panel perpendicular to a taller green panel decorated with orange and yellow lines.

Colour Booth, 1959

Monochromatic black sculpture by Michael Snow. Several small canvases are held on crutch-like stands and are gradually angled more vertical as they approach a wall that the sculpture leans on.

Quits, 1960

Mixed media sculpture by Michael Snow consisting of a wooden window frame partially covered with plastic. Several items are hung inside with wire and other objects, like bottles and glasses, sit on top and on the bottom of the frame.

Window, 1960

Freestanding painted sculpture by Michael Snow composed of blue sheets of paper folded in various ways and mounted on paperboard.

Blue Monk, 1960

Painting by Michael Snow mostly comprised of layered brushstrokes of blues and greens with four short pieces of yellowed adhesive tape arranged on the four borders of the canvas.

Lac Clair, December 1960

Abstract painting by Michael Snow consisting of a yellow background with blocky opaque black shapes painted on top. Blue and green lines also appear along with lines drawn with charcoal containing some of the shapes.

Secret Shout, January 1960

Abstract painting by Michael Snow consisting of nine cobalt blue rectangles against a yellow ground.

The Drum Book, September 1960

Painting by Michael Snow depicting a roughly drawn nude woman with no facial features and short red hair. She is seated on a dark green chair in front of a blue-green background.

Seated Nude (Red Head), 1955

Abstract collage by Michael Snow comprised of cutouts of a female body, painted in soft yellows and pinks, overlapping to suggest physical movement.

Seated Nude, 1955

Abstract collage by Michael Snow depicting five floating female nudes in various poses. Their bodies, rendered in red, blue, white, and various ochres, overlap with each other and with abstract forms within an ambiguous space.

January Jubilee Ladies, 1961

Abstract sculpture by Michael Snow comprised of a cardboard tube inside a wooden frame. Dark red paper covers the back of the frame and strips of paper in the same colour wrap loosely around the tube.

Rolled Woman II, 1961

A grid of sixteen black and white photographs of Michael Snow’s Walking Woman in urban spaces, including on the street and in a subway station. The Walking Woman is a stylized cutout of a woman mid-stride with no feet or hands and a shot bob haircut.

Four to Five, 1962

Painting by Michael Snow of a jazz band playing their instruments. Their bodies are made of exaggerated curved shapes with some Cubist features.

Jazz Band, 1947

Abstract painting by Michael Snow of several items on a table, drawn in a flattened style. A red goblet is near several bottles on a round white circle, representing a table, with its four legs splayed and cut off by the edges of the canvas.

Still Life: Red Goblet, August 1952

Painting by Michael Snow of a classical concert done in a flat Cubist style. A performer in a blue suit stands in front of an audience and twists his head and body away from them to instead face the viewer. The painting has a mottled texture made with mostly red and blue paint.

Colin Curd About to Play, 1953

Painting by Michael Snow of interweaving lines, some in almond shapes to reference the human eye, forming a male figure seated at a table and a nude woman standing next to him.

Ocul, 1954

Sculpture by Michael Snow of a bronze-coloured metal table with tall, thin legs displaying a collection of found objects on top.

The Table, 1955

Painting by Michael Snow of a table and chairs composed of thick, opaque brushstrokes in black and bold red. The surface of the table, represented by the large central block of black paint, merges with the chairs to create an almost abstract shape.

Table and Chairs No. 1, 1956

Image of several frames of a film strip, displayed vertically, on top of a blue background. On film is an animated scene by Michael Snow of tables and chairs shaded with crosshatching with a crescent moon overhead.

A to Z, 1956

Abstract painting by Michael Snow of blue, blocky forms that appear to be morphing and disintegrating on top of an off-white background.

Move, 1957

Abstract painted sculpture by Michael Snow consisting of a blue panel perpendicular to a taller green panel decorated with orange and yellow lines.

Colour Booth, 1959

Monochromatic black sculpture by Michael Snow. Several small canvases are held on crutch-like stands and are gradually angled more vertical as they approach a wall that the sculpture leans on.

Quits, 1960

Mixed media sculpture by Michael Snow consisting of a wooden window frame partially covered with plastic. Several items are hung inside with wire and other objects, like bottles and glasses, sit on top and on the bottom of the frame.

Window, 1960

Freestanding painted sculpture by Michael Snow composed of blue sheets of paper folded in various ways and mounted on paperboard.

Blue Monk, 1960

Painting by Michael Snow mostly comprised of layered brushstrokes of blues and greens with four short pieces of yellowed adhesive tape arranged on the four borders of the canvas.

Lac Clair, December 1960

Abstract painting by Michael Snow consisting of a yellow background with blocky opaque black shapes painted on top. Blue and green lines also appear along with lines drawn with charcoal containing some of the shapes.

Secret Shout, January 1960

Abstract painting by Michael Snow consisting of nine cobalt blue rectangles against a yellow ground.

The Drum Book, September 1960

Painting by Michael Snow depicting a roughly drawn nude woman with no facial features and short red hair. She is seated on a dark green chair in front of a blue-green background.

Seated Nude (Red Head), 1955

Abstract collage by Michael Snow comprised of cutouts of a female body, painted in soft yellows and pinks, overlapping to suggest physical movement.

Seated Nude, 1955

Abstract collage by Michael Snow depicting five floating female nudes in various poses. Their bodies, rendered in red, blue, white, and various ochres, overlap with each other and with abstract forms within an ambiguous space.

January Jubilee Ladies, 1961

Abstract sculpture by Michael Snow comprised of a cardboard tube inside a wooden frame. Dark red paper covers the back of the frame and strips of paper in the same colour wrap loosely around the tube.

Rolled Woman II, 1961

A grid of sixteen black and white photographs of Michael Snow’s Walking Woman in urban spaces, including on the street and in a subway station. The Walking Woman is a stylized cutout of a woman mid-stride with no feet or hands and a shot bob haircut.

Four to Five, 1962

A to Z - Art Canada