Flight Stop

Flight Stop, also titled Flightstop, is a 1979 site-specific art work by Canadian artist Michael Snow. Located in the Toronto Eaton Centre in Downtown Toronto, the work hangs from the ceiling and appears to depict sixty Canada geese in flight. Each individual goose is made of Styrofoam covered in fibreglass and covered in a sheath made from photographs taken from a single goose. The flock is frozen in mid-flight, "flight stop" being a pun on the nature of still photography. When conceived in 1977, the work was titled Flight Stop but has frequently also been titled Flightstop. The work remains an iconic public art piece in Toronto and in many ways stands as a visual identity for the mall.

Flight Stop
Interior of the Toronto Eaton Centre showing a view of Flight Stop
ArtistMichael Snow
Year1979 (1979)
TypeSculpture
Medium60 suspended fibreglass Canada goose forms surfaced with tinted black and white photographs
Dimensions32 x 20 x 16 m
LocationToronto, Ontario, Canada
Coordinates43.6528°N 79.3802°W / 43.6528; -79.3802

Background

Michael Snow has exhibited his work internationally since 1957. The media he employs is wide-ranging and Snow is noted for his innovative use of a variety of technologies.[1]

Snow is an influential experimental filmmaker and a key figure of the structural film movement of the 1960s. His 1967 film Wavelength has been designated and preserved as a masterwork by the Audio-Visual Preservation Trust of Canada[2] and was named number 85 in the 2001 Village Voice critics' list of the 100 Best Films of the 20th Century.[3]

Development and creation
Detail of Flight Stop

Snow was commissioned by the Eaton Centre's developers, Cadillac Fairview, and architect Eberhard Zeidler to provide a permanent art work to hang in a skylit galleria, which would be visible from several levels and balconies as well as from a ground-level corridor spanning Dundas and Queen Streets.[4] Snow's original intent was to depict a flight of geese breaking formation as if to land in the mall.[4]

Flight Stop appears to be a straightforward representation of sixty geese, but the work is a combination of fibreglass forms and photographs of a single goose, "one of two culled from a flock living on Toronto Island."[4]

Photographing the dead bird, Snow adjusted "the neck, wing, and tail positions and the cylindrical parts of the body".[4] Three different body sizes were then carved in Styrofoam and, "using pattern-making techniques, two-dimensional photographic goose costumes were printed and assembled".[4] The Styrofoam bodies were cast in fibreglass, covered in the photographic sheathes, and varnished in a tinted brown that has yellowed somewhat over time.[4]

Strung from the roof on individual wires, the objects form a dynamic group: the poses lend variety; the play with scale maximizes depth; photographic detail heightens a sense of realism. The objects are somehow more naturalistic—goosier—than conventional sculptural representation could be, and this quality accentuates Snow's artistic comment on the nature of photographic illusion, on the tendency to suspend disbelief.

— Prof. Martha Langford, art historian[4]

In Snow's original preparation for the work, the title was given as Flight Stop (and indicated as the "Flight Stop project" in the archival materials).[5] However, in a number of monographs and catalogues, the work is called Flightstop.[6][7] Now a tourist destination, Flight Stop is one of Snow's most famous and highly visible works, and the work has become iconic for the Toronto Eaton Centre[8][9] and a part of the visual identity of the mall.[10][11]

Main article: Snow v Eaton Centre Ltd

In 1982, Snow sued the corporate owner of the Toronto Eaton Centre for violating his moral rights by altering Flight Stop. In the landmark case Snow v Eaton Centre Ltd, the Ontario High Court of Justice affirmed the artist's right to the integrity of their work. The operator of the Toronto Eaton Centre was found liable for violating Snow's moral rights.[12][13]

During the Christmas season of 1981, the Eaton Centre placed red ribbons around the necks of the geese. Snow brought an action against the Centre to get an injunction to have the ribbons removed. He had argued that the ribbons were a "distortion and mutilation" of his work, and that it "ultimately affected his artistic reputation".[13] The judgement in Snow's favour held that the sculpture's integrity was "distorted, mutilated or otherwise modified" which was "to the prejudice of the honour or reputation of the author" contrary to section 28.2 of the Copyright Act. The opinion was based both on the opinion of Snow as well as the testimony of experts in the art community.[13]

Legacy

Snow's position as a Canadian artist with an international profile was established well before 1979.[14] Flight Stop established Snow as a highly visible artist in Canada, a rare feat in that country.[15] As a work of public art, Flight Stop is not only highly visible but has become iconic for Toronto and the Eaton Centre.[16][17]

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gollark: https://tio.run/#
gollark: I haven't actually used either very *much*, but meh.
gollark: Yes, I have actually used both.
gollark: Blame TIO, it uses that.

See also

References
  1. Langford, Martha (2014). Michael Snow: Life and Work (PDF). Art Canada Institute. p. 6.
  2. "Academia Vita Trust". Archived from the original on September 27, 2007.
  3. "100 Best Films – Village Voice". Archived from the original on March 31, 2014.
  4. "Michael Snow, Flight Stop, 1979". Art Canada Institute – Institut de l’art canadien. Retrieved July 10, 2018.
  5. written at Art Gallery of Ontario, Michael Snow Fonds, Toronto: Art Gallery of Ontario E. P. Taylor Research Library and Archives, 2005, p. 28
  6. Visual art, 1951–1993. Toronto: A.A. Knopf Canada. 1994. p. 488. ISBN 0394280539. OCLC 29911795.
  7. 1929-, Snow, Michael (2001). Michael Snow : almost cover to cover. London: Black Dog Pub. p. 114. ISBN 190103318X. OCLC 48881489.CS1 maint: numeric names: authors list (link)
  8. "Is it a plane? Is it a bird? No. Well, yes. It's a public art installation". Retrieved July 11, 2018.
  9. "AGO's multi-decade love affair with Michael Snow continues with awarding of $40,000 Gershon Iskowitz Prize". Toronto Life. June 8, 2011.
  10. "Snow v The Eaton Centre Ltd. (1982) 70 C.P.R. (2d) 105". Cite journal requires |journal= (help)
  11. "Déja Viewed: Michael Snow on Looking Back, and Ahead". Canadian Art.
  12. Langford, Martha. Michael Snow : life & work. Toronto, ON. p. 30. ISBN 9781487100049. OCLC 870916868.
  13. (1982), 70 CPR (2d) 105.
  14. "The Amazing Adventures of Michael Snow: an uncensored history of Toronto's most notorious art star". Toronto Life. March 27, 2013. Snow marked this new phase of his life by creating two famously controversial public sculptures. The first was Flight Stop, a gaggle of 60 fibreglass geese soaring under the domed glass roof of the Eaton Centre. 'There was all this empty air up there. I thought, what goes in the air?' Snow recalls.
  15. "While Canada is still catching up, Michael Snow's legacy is safe abroad". National Post. February 1, 2013. Retrieved July 11, 2018. Michael Snow is perhaps best known for his public art installations in Toronto. The long-standing — flying, really — Flight Stop (1979) hovers above American Eagle and Sport Chek in the Eaton Centre.
  16. "Snow v The Eaton Centre Ltd. (1982) 70 C.P.R. (2d) 105". Under Snow’s supervision, the sculpture was hung from the ceiling of the inside galleria of the shopping complex. A plaque, announcing Snow as the artist of the work, was also installed. The sculpture soon became a focal point of the Centre, and was critically acclaimed as an important piece by critics. Cite journal requires |journal= (help)
  17. "Michael Snow: The Transformer". The 84-year-old juggernaut of art, who over the years has entranced the public imagination with such iconic works as the odyssey of grandiose geese in Flight Stop at the Eaton Centre, the sculptural gazers that toast the facade of the Rogers Centre in The Audience and the landmark film Wavelength, continues to provoke and stretch artistic paradigms in Canada and beyond. Cite magazine requires |magazine= (help)

Works cited

Further reading
  • Greenhill, Pauline. "Natalka Husar and Diana Thorneycroft versus the Law: A Critical Feminist Consideration of Intellectual Property and Artistic Practice." Canadian Journal of Women and the Law 18 (2006): 439–478. Project MUSE link.
  • Marchessault, Janine. "Site specificity in the age of intermediality (with thanks to Michael Snow)." The Moving Image Review & Art Journal (MIRAJ) 2, no. 2 (2013): 150–159. DOI: https://doi.org/10.1386/miraj.2.2.150_1
  • Pray, Michael O. "Interview: In Synch." Art Monthly (Archive: 1976–2005) 256 (2002): 9. Proquest link.
  • Rushton, Michael. "The Moral Rights of Artists: Droit moral ou droit pécuniaire?." Journal of Cultural Economics 22, no. 1 (1998): 15–32. DOI http://doi.org/10.1023/A:1007454719802
  • Warkentin, John. Creating memory: A Guide to Outdoor Public Sculpture in Toronto. Toronto: Becker Associates, 2010. ISBN 0919387608
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