Film commissions and underground scene access jointly shaped avant-garde projects

Evidence

On one hand, the thirty-four-year-old artist was interested in making a movie that would feature his trademark icon—the Walking Woman—a stylized female profile that, for the past five years, had been the subject of his paintings, photographs, and installations. It was time for this two-dimensional creature to strut her stuff in an illusory three-dimensional world and perhaps provide Snow entrée into the underground film scene. On the other hand, he had received a juicy commission of $3,000 from a Toronto group to make a movie about the New York jazz scene. New York Eye and Ear Control combined the two. — J. Hoberman, Everything Is Now, 536