Cover to Cover
Michael Snow
1975
Cover to Cover
Cover to Cover
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When Carolee Schneemann anchored female corporeality to the architectural metaphor of the house, her primary intention was to transform the traditionally domestic space into a site of liberation. In Michael Snow’s Cover to Cover, which ...
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Cover to Cover
Michael Snow
1975
Halifax and New York: Press of the Nova Scotia College of Art and Design and New York University Press
Unpaginated [316 pages]
22.6 × 17.8 cm

When Carolee Schneemann anchored female corporeality to the architectural metaphor of the house, her primary intention was to transform the traditionally domestic space into a site of liberation. In Michael Snow’s Cover to Cover, which could also be alternatively titled Door to Door, the house becomes a setting at the intersection of conceptual art and cinematic symbolism.


 


Snow conceived this book shortly after his experimental project Two Sides to Every Story (1974), often presented as a two-channel video installation, in which both films show a woman performing a series of movements as she walks between two cameramen positioned opposite one another. Projected on opposite sides of the screen, the films re-present the differing perspectives of the two cameramen. Within this logic, Cover to Cover (1975) is a mind-bending bookwork composed of parallel photographic sequences – shot by two photographers, who are themselves occasionally visible throughout the pages – that explore the compression of three-dimensional space and the physical flatness of the printed page.


 


The book unfolds with a cinematic flow while remaining self-aware of its own format: both a metabook and a metafilm, in which doors, windows, frames, and the edge of the page itself converge.

Halifax and New York: Press of the Nova Scotia College of Art and Design and New York University Press
Unpaginated [316 pages]
22.6 × 17.8 cm

When Carolee Schneemann anchored female corporeality to the architectural metaphor of the house, her primary intention was to transform the traditionally domestic space into a site of liberation. In Michael Snow’s Cover to Cover, which could also be alternatively titled Door to Door, the house becomes a setting at the intersection of conceptual art and cinematic symbolism.

 

Snow conceived this book shortly after his experimental project Two Sides to Every Story (1974), often presented as a two-channel video installation, in which both films show a woman performing a series of movements as she walks between two cameramen positioned opposite one another. Projected on opposite sides of the screen, the films re-present the differing perspectives of the two cameramen. Within this logic, Cover to Cover (1975) is a mind-bending bookwork composed of parallel photographic sequences – shot by two photographers, who are themselves occasionally visible throughout the pages – that explore the compression of three-dimensional space and the physical flatness of the printed page.

 

The book unfolds with a cinematic flow while remaining self-aware of its own format: both a metabook and a metafilm, in which doors, windows, frames, and the edge of the page itself converge.

DESCRIPTION

When Carolee Schneemann anchored female corporeality to the architectural metaphor of the house, her primary intention was to transform the traditionally domestic space into a site of liberation. In Michael Snow’s Cover to Cover, which could also be alternatively titled Door to Door, the house becomes a setting at the intersection of conceptual art and cinematic symbolism.

 

Snow conceived this book shortly after his experimental project Two Sides to Every Story (1974), often presented as a two-channel video installation, in which both films show a woman performing a series of movements as she walks between two cameramen positioned opposite one another. Projected on opposite sides of the screen, the films re-present the differing perspectives of the two cameramen. Within this logic, Cover to Cover (1975) is a mind-bending bookwork composed of parallel photographic sequences – shot by two photographers, who are themselves occasionally visible throughout the pages – that explore the compression of three-dimensional space and the physical flatness of the printed page.

 

The book unfolds with a cinematic flow while remaining self-aware of its own format: both a metabook and a metafilm, in which doors, windows, frames, and the edge of the page itself converge.

Halifax and New York: Press of the Nova Scotia College of Art and Design and New York University Press
Unpaginated [316 pages]
22.6 × 17.8 cm

When Carolee Schneemann anchored female corporeality to the architectural metaphor of the house, her primary intention was to transform the traditionally domestic space into a site of liberation. In Michael Snow’s Cover to Cover, which could also be alternatively titled Door to Door, the house becomes a setting at the intersection of conceptual art and cinematic symbolism.

 

Snow conceived this book shortly after his experimental project Two Sides to Every Story (1974), often presented as a two-channel video installation, in which both films show a woman performing a series of movements as she walks between two cameramen positioned opposite one another. Projected on opposite sides of the screen, the films re-present the differing perspectives of the two cameramen. Within this logic, Cover to Cover (1975) is a mind-bending bookwork composed of parallel photographic sequences – shot by two photographers, who are themselves occasionally visible throughout the pages – that explore the compression of three-dimensional space and the physical flatness of the printed page.

 

The book unfolds with a cinematic flow while remaining self-aware of its own format: both a metabook and a metafilm, in which doors, windows, frames, and the edge of the page itself converge.

MORE BOOKS

When Carolee Schneemann anchored female corporeality to the architectural metaphor of the house, her primary intention was to transform the traditionally domestic space into a site of liberation. In Michael Snow’s Cover to Cover, which could also be alternatively titled Door to Door, the house becomes a setting at the intersection of conceptual art and cinematic symbolism.

 

Snow conceived this book shortly after his experimental project Two Sides to Every Story (1974), often presented as a two-channel video installation, in which both films show a woman performing a series of movements as she walks between two cameramen positioned opposite one another. Projected on opposite sides of the screen, the films re-present the differing perspectives of the two cameramen. Within this logic, Cover to Cover (1975) is a mind-bending bookwork composed of parallel photographic sequences – shot by two photographers, who are themselves occasionally visible throughout the pages – that explore the compression of three-dimensional space and the physical flatness of the printed page.

 

The book unfolds with a cinematic flow while remaining self-aware of its own format: both a metabook and a metafilm, in which doors, windows, frames, and the edge of the page itself converge.

MORE BOOKS