David Lynch Art & Photography Books
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A collection of the controversial film director's private paintings, photographs, and fiction, made public here for the first time, offers a new glimpse into the disturbed, perverse imagination behind such movies as Blue Velvet. 15,000 first printing.
A beautifully oversized catalogue (11 3/4" by 11 3/4") of works by the renowned artist and director, David Lynch. Splendid reproductions of 114 Limited Edition Monoprints, Collographs and Photogravure prints. Includes an extensive interview with David Lynch discussing his artwork with Kristine McKenna. "Since Tandem Press was founded in 1987, it has been our main objective to invite artists working in other media to experiment with printmaking. We were extraordinarily honored that David Lynch agreed to come. To invite David Lynch was not so unusual because he trained as a painter, but he is best known for his internationally acclaimed film career." From the introduction by Paula McCarthy Panczenko.
As his Spring, 2007 Cartier Foundation retrospective, The Air Is On Fire , made plain to all who saw it, the talents of the great American filmmaker David Lynch reach far beyond his acknowledged achievements in cinema: he is also an excellent painter, draughtsman and photographer. His photography to date has fallen loosely into four distinct genres or series: nudes (Bacon-esque images of digitally distorted Victorian photographs), still lifes (spark-plugs, dental machinery), industrial landscapes--and snowmen. Published to accompany the Cartier show, this compact volume brings together Lynch's black-and-white photographs of snowmen, all taken in the suburbs of his hometown of Boise, Idaho. Exhibiting his characteristic preoccupation with ominous beauty as these ephemeral folk sculptures decompose in front of snow-covered tract houses, Lynch pays scant regard to the cheerier and more genial properties of snowmen, and indeed some of these images will remind viewers of the shadowy black-and-white tones of Lynch's 1977 film Eraserhead . "If you have some shadow or darkness in the frame, then your mind can travel in there and dream," he has stated. Lynch's indisputable gift for teasing out the sinister flipsides of the props and rituals of American suburbia is beautifully evidenced in this small, gift-worthy book.
The first major collection of artwork by the acclaimed movie director David Lynch. Spanning a period of forty years, David Lynch's widely respected films and television series include Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway , and Mulholland Drive . However, his prolific visual art production, which began even before his films, has rarely been seen. This catalogue of his artistic output, published on the occasion of a large-scale exhibition at the Fondation Cartier in Paris, covers a wide variety of disciplines: painting, photography, drawings, sculpture, furniture, music, and "moving pictures." His art echoes his films in theme and aesthetic, yet offers viewers a fresh and more intimate glimpse into his singular universe. The book also contains several essays that analyze his artworks, as well as a conversation with Lynch, interviewed within the context of the show. 469 illustrations in color.
This exceptional book brings together a collection of more than 500 drawings dating from the 1960s by the renowned American film director, David Lynch. His artwork was first unveiled to the general public in March 2007 by the Fondation Cartier pour l'art contemporain in Paris. Sketches, watercolors, or simple doodles, this vast collection--carefully preserved by David Lynch since his adolescence and regularly used by him as a source of inspiration--offers a unique glimpse into the artist's creative process. Using all types of media, from Post-it notes to napkins, the diverse and complementary nature of these drawings allows us to dive into David Lynch's universe and establish links between his artwork and his films. This exceptional book, both in terms of its format and the quality of reproduction of the works, is a co-publication between the Fondation Cartier pour l'art contemporain and Steidl.
Parallel to the film career for which he is justly admired, David Lynch (born 1946) has always worked as an artist, having trained in painting at the Corcoran School of Art and the School of the Museum of Fine Arts in Boston in the mid-1960s. Lynch's photographs, paintings, prints, drawings, and more recently, musical compositions, are an indispensable part of his oeuvre and frequently a source of inspiration for his films. Fans of such classics as Blue Velvet , Wild at Heart , Twin Peaks and Mulholland Drive will readily conjure the director's keen eye for lush but menacing neo-Surrealist tableaux, for instance, which are directly nourished by his artworks. Other hallmarks of the Lynchian style, such as cryptic messages and inscriptions, foreboding atmospherics and a famously left-field sense of humor likewise appear in the paintings, drawings and photographs collected in David Lynch: Dark Splendor --a landmark publication that reveals the breadth and accomplishment of his work in this realm. It contains such marvels as his matchbook drawings--pen-and-ink images of shrouded dreamscapes and interiors, inscribed on the inside of matchbooks--his wonderfully foreboding lithographs, in which scrawled captions jostle among murky figures, his photographs of industrial wastelands and his sinister paintings that incorporate materials and objects to further advance their gothic appeal. Dark Splendor presents these works in excellent reproductions, and will seduce fans of contemporary film and art alike.
Filled with dreamlike and eerie images, this first book of photographs from the director David Lynch offers a window into the iconic filmmaker’s creative vision. Anyone familiar with David Lynch’s cinematic achievement will identify similarities between this series of photographs and his most powerful films. Dark and beautiful, mystical and enigmatic, these photos reveal Lynch’s unique style. The exterior and interior black and white shots of factories in Berlin, Poland, New York, England, and other locations are filled with Lynchian characteristics: labyrinthine passages, decaying walls, industrial waste, and detritus. Devoid of nature, the dying, manmade structures are actually being overtaken by nature’s innate power. They are haunting cathedrals of a bygone industrial era—the perfect setting for a David Lynch film, and a revealing addition to his unique and fascinating oeuvre.
For the legendary director, photographer and multimedia artist David Lynch (born 1946), the complex relationship between objects and their names has been a point of departure in his work since The Alphabet , his second short film made in 1968 during his student years at the Pennsylvania Academy of Fine Art. Based on a dream his first wife had about her niece reciting the alphabet, Lynch has described this early work as "a little nightmare about the fear connected with learning." Later, between 1987–88, Lynch developed the "Ricky Board" drawing series, in which the same object is repeated across four rows of five columns, with each one given a different name. "You will be amazed at the different personalities that emerge depending on the names you give," Lynch observes. This book traces how Lynch uses "naming" in film, photography, drawings, watercolors, painting and prints from 1968 to the present.
Ten years after the exhibition The Air Is on Fire , which presented David Lynch’s photographic and painting work, the Fondation Cartier pour l’art contemporain brought together in this book more than 100 black-and-white and color images of female nudes by the artist. These erotically charged photographs are close to abstraction, offering kaleidoscopic visions of the subject. They attest to Lynch’s fascination with the infinite variety of the human body, while being in line with his cinematographic work.
Featuring rarely seen multimedia works by the revered cult filmmaker David Lynch, this revelatory book shows how he applies his powerful imagination and visual language across genres. David Lynch has always been in the spotlight as a filmmaker, directing some of the most iconic movies ever made, but as a visual artist, he is less widely known. Lynch delights in the physicality of painting and likes to stimulate all the senses in his work. This book brings together Lynch's paintings, photography, drawings, sculpture and installation, and stills from his films. Many of these works reveal the dark underpinnings behind Lynch's often-macabre movies. Others explore his fascination with texture and collage. Throughout, Lynch's characteristic style--surreal, stylish, and even humorous--shines through. An introduction by music journalist and Lynch biographer Kristine McKenna, along with a thought-provoking essay by curator Stijn Huijts, offers fascinating new information and perspectives on Lynch's life and career. This book reveals an unexplored facet of Lynch's oeuvre and affirms that he is as brilliant a visual artist as he is a filmmaker.