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166 167 168 This and following tvo pages.- Royden Rabinowitch smashes the table, Scene 20 Tom Gibson's Photographs 1974 "In Tom's biographicalfile, I came across a short text that you wrote in 1974 for the Still Photography Division's Signature series. When I asked Tom about it he told me that it had been commissioned but never used for reasons now forgotten. I would not like the text to be forgotten: I like it very much and feel that it captures well the questions and feelings attendantto Tom's transition from painting to photography." - From a letter to Michael Snow, 18 May 1993, from Martha Langford, directorof the Canadian Museum of Contemporary Photography. The text was published in Tom Gibson: False Evidence Appearing Real, an exhibition catalogue by Martha Langford,Canadian Museum of Contemporary Photography, Ottawa, 1993. Tom Gibson's photographs are a personal unity of objective truths embodying mysteries of both subject and medium. General: The light, less-light and no-light truths of ranges of greys, blacks and whites thinly, to say the least, layered on paper in certain arrangements become images taken from elsewhere containing within them relationships of forms predisposing them to "the photographic." Specific: Individual works such as Man with Shadow (1972) or Woman with Dark Glasses (1973) and in a different way Poodle at Niagara (1973) have an apparently miraculous order that paintings, drawings or collages may (butvery rarely do) have because the individual forms are made separately, have been considered separately. That such spooky coherence can be captured and examined in such a sensitive translation is one of the didactic flashes of photography in life. Encountering this coherence is the major experience of Art.Gibson's photographs unite all the levels of the photographic process into such an often moving fusion of means and ends. His experience as what is called "a painter" has helped him to see dramatic relationships with certain inner paradoxes relevant to them becoming the sensitive surface they eventually become. Yes, one of the many considerations of "a painter" is to make a personal unity of facts, of surface and illusions, of forms in depth. I emphasize this aspect because its creative understanding tends the photographs away from Journalism towards Art. Gibson's work is not "abstract." It describes people, animals, places, things; it is "realistic" in a magical way that links it to a family of fine photographers and painters. Gibson's personal unity, his own truths, have a wide-angled irony to them. The final surface is united with a with a bittersweet twist to the kinds of surfaces photographed to provide an experience, rich in implication, that is possible in no other medium. 172 T Michael Snow Musics for Piano, Whistling, Microphone and Tape Recorder 1975 From 1973 to its closing in 1978, I was represented by the Bykert Gallery in New York. The director, Klaas Kertess, had assisted in organizing a record label, Chatham Square Records, which issued Philip Glass's first records, then others by Jon Gibson, etc. In 1975, Chatham Square and the Isaacs Gallery produced the double record album Michael Snow Musics for Piano, Whistling, Microphone and Tape Recorder (Chatham Square #9 1009/1010). The following text was written to be printed in a certain typographic form (here reproduced), which in a sense is the visual equivalent to the form of the first piece in the album, "Falling Starts." If or when you read the text, you will see that it was written to be read with or near the music. This, then, is a "detail" of a total work, my first attempt to use the LP as a total form (like a sonata). The LP developed a form which consists of the jacket with information and photos printed on it, the record labels, the discs, and the music, and this is what I worked with. M.S. 173 STEREO LP 1009/10 CHATHAM SQUARE MICHAEL SNOW MUSICS FORPUNO,WHISTLING MICROPHONE AND TAPE RECORDER my first consideration in writing the text which you are now, I presume, reading ("presume": I guess that this text will still be here to read later even if you aren't reading it now) was to write something which when printed would cover all four faces of this album. Of several ideas for a design for this album cover or jacket this seemed at the time to be the best. Remains to be seen. Ruminations gradually clarified to this stage: I would write something that...

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Additional Information

ISBN
9780889206045
Related ISBN
9780889202436
MARC Record
OCLC
180704522
Pages
293
Launched on MUSE
2012-01-01
Language
English
Open Access
No
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