David Lynch is internationally renowned as a filmmaker, but it is less known that he began his creative life as a visual artist and has maintained a devoted studio practice, developing an extensive body of painting, prints, photography, and drawing. Featuring work from all periods of Lynch’s career, this book documents Lynch’s first major museum exhibition in the United StDavid Lynch is internationally renowned as a filmmaker, but it is less known that he began his creative life as a visual artist and has maintained a devoted studio practice, developing an extensive body of painting, prints, photography, and drawing. Featuring work from all periods of Lynch’s career, this book documents Lynch’s first major museum exhibition in the United States, bringing together works held in American and European collections and from the artist’s studio. Much like his movies, many of Lynch’s artworks revolve around suggestions of violence, dark humor, and mystery, conveying an air of the uncanny. This is often conveyed through the addition of text, wildly distorted forms, and disturbances in the paint fields that surround or envelop his figures. While a few relate to his film projects, most are independent works of art that reveal a parallel trajectory. Organized in close collaboration with the artist, David Lynch: The Unified Field brings together ninety-five paintings, drawings, and prints from 1965 to the present, often unified by the recurring motif of the home as a site of violence, memories, and passion. Other works explore the odd, tender, and mincing aspects of relationships. Highlighting many works that have rarely been seen in public, including early work from his critical years in Philadelphia (1965–70), this catalog offers a substantial response to dealer Leo Castelli's comment when he enthusiastically viewed Lynch’s work in 1987, “I would like to know how he got to this point; he cannot be born out of the head of Zeus.” Published in association with the Pennsylvania Academy of the Fine Arts...
|Title||:||David Lynch: The Unified Field|
|Number of Pages||:||157 Pages|
|Status||:||Available For Download|
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David Lynch: The Unified Field Reviews
This book is a souvenir from a Pennsylvania Academy of the Fine Arts exhibit of the same name. Lynch spent several formative years at PAFA before settling in LA. I attended the exhibit and ironically enough the program from it is actually right here on my desk. Not knowing what else do to with it, but wanting to keep it, it sat here for a months. Now I can put inside the book. A small victory in the fight against clutter.A present from a friend (thanks Larry Berthold), I had just finished a book that morning and excitedly jumped right in the next day. Sadly this book is quite a disappointment. The format is a text section with some illustrations followed by a section with plates from the exhibition. The text is best described as "scholarly". It reads like a college essay and is not really accessible to laypeople. It is a hard slog and rather confusing. Even worse is that the formatting is like it was printed in the 1800s. The text even references The Medium is Massage but the format uses none of its elan.This book's design is really a lack of design. The book is quite large and square. The text takes up 2/3s of the page with other 1/3 left for too small illustrations and a lot of wasted white space. The illustrations are too small to be appreciated. The plates section seldom utilizes the dimensions of the page, resulting in too small pictures and lots of white space. For an artist of Lynch's caliber, the execution of this book is a big disappointment. This book could have been, should have been really cool and exciting.
Although I didn't find the art work done by Lynch in this book particularly intriguing, I do admire his films and was interested in this information about his life. It's clear from the films he's made that Lynch is not just trying to make money, but has a unique vision and is an original artist. The images here support that conclusion.
Lynch as a painter is often ignored, or else casually thrown into much of the analysis of his film as a means of understanding his aesthetic which is unfortunate because this book should perform the opposite task and remind Lynch fans that the man began and remains a painter more than anything else. Each painting in this book informs, and further demonstrates Lynch's careful attention to images. Every painting is an impression and, in its own way, and opening into a completely different reality which is what good art should do.I could wax philosophic about art theory for days, but the reader should approach this book not just as a lover of Lynch's films. These are there own work, and while there are some preliminary sketches that led to Eraserhead, much of the work is just about exploring this reality. Uncanny is a fair word because all of these paintings feel terribly real and true to the human experience, but something feels constantly off. The sensation of looking at these paintings, at least for me, was feeling as if I was looking at the world and then looking through it into the other world that might exist just under or just behind the next one.These realities offer an opportunity to reflect on the body, for much of Lynch's work explores sickness both physical and mental. The figures and characters are often deformed in some fashion, and as they touch through to the other side this kind of reality blurring is performed through some kind of physical action like vomiting or fucking or killing. The human body is real, and for all of the uncanny elements Lynch never lets his viewer ever forget that.This collection is a boon to Lynch fans, not just because the Introduction reflects on the man's films, but because it is a way of deepening the understanding of Lynch's approach to art. Images and moments create lasting impressions that means something about human existence and experience. While much of it is grotesque it's important to remember that this is Lynch,, and so even as a man is barfing there's still an attempt to create some kind of beauty or humor.This is a weird and wonderful book and I'd be proud to add it to my library.
Interesting, cool work. Lynch's artwork doesn't get enough attention. As the title suggests, there's plenty here that expands on and bridges his film work.I'm particularly fond of the house paintings. Very cool attention to shading and color, with nice contrasts in smooth, soft textures and harsh, crude lines that create some disconcerting harmonies, as well as severe incongruities. The childlike combined with a dreamlike mystery and adult reflection on fear and life's dangers makes for a fully Lynchian blend of complex emotions, ideas, and questions. He's just a unique voice, true to himself.While I dig his factory photographs more, this is excellent work.I wish the page had been utilized a bit better, where some of the works were larger. That was a frustration. But the art is good and worth the time of anyone interested in Lynch.
This book provides a fairly extensive overview of Lynch's artworks, from his time as a student to just a few years ago. You can see some influences for the latest season of Twin Peaks, but the entire body of work is wonderful to behold. The essay at the beginning of the book is also of note.
On how he became a filmmaker: "I'm looking at the painting and from the painting came a wind...And the green garden plants began to move...And I'm looking at this and hearing this and I say, 'Oh, a moving painting.' And that was it."
an incredible overview of a brilliant artist's career
Read Lynch's 'catching the Big Fish', got curious and searched up a biography. I like his ideas about meditation as a source of creativity.
David Lynch the Artist from the beginning...
Interesting book on Lynch's art work.