Michael Snow Obituary, Death – The final chapter of Michael Snow’s life narrative has been written, and the page has finally been turned. In terms of the visual sense that I have of “what Toronto is,” there is no other person who has made a larger impact on me than this one has. To put it another way, all I know about “what Toronto is” comes from the exclusive perspective of this one person.
We would travel all the way from Scarborough to Queen Street West, The Grange, or Eaton Centre, and the trips themselves are responsible for a significant chunk of the early recollections that I have. The Eaton Centre is where I first remember going to the movies. Before I had any idea whatsoever about what public art actually was, the works “Flight Deck” and “The Audience” left an impression on me. Both of these works are examples of public art that may be found in their respective communities.
My first classes in “jazz improvisation” were held at 179 Richmond Street’s The Music Gallery, which was an organization space that he founded in conjunction with the CCMC. He taught those classes to me. Recent occurrences in my life inspired me to read “Common Tones,” a fantastic book published by Alan Licht that is a collection of conversations with various artists. My mind was completely blown by the conversation with Mike Snow, which was one of the talks.
It wasn’t until then that I understood that he was the thread that wove all of my peculiar and obscure preferences together, and it wasn’t until then that I realized that he was the thread that bound all of my peculiar and obscure preferences together. It wasn’t until then that I realized that he was the thread that bound all of my peculiar and obscure preferences together. Neither of these insights came to light until much after the event in issue had taken place.
