Published by Fondation Cartier pour l'art contemporain, Paris.
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.
Published by Kayne Griffin Corcoran. Edited by Brett Littman.
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.
PUBLISHER Kayne Griffin Corcoran
BOOK FORMAT Paperback, 5 x 7.5 in. / 156 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 1/31/2014 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2014 p. 75
PRODUCT DETAILS ISBN 9780989789400TRADE List Price: $30.00 CDN $35.00
Published by Moderne Kunst Nürnberg. Edited by Brigade Commerz, Robert Eikmeyer, Thomas Knoefel.
In October 2010, David Lynch received the Kaiserring award, presented annually to visual artists by the city of Goslar, Germany. Following the awards ceremony, Lynch gave a press conference and took questions from a number of local schoolchildren about his work. This 45-minute audio CD is edited from both occasions to produce an audio portrait of Lynch's thought and life. Here, Lynch recalls his childhood and his early love of painting, and discusses such topics as daydreaming, dream logic, meditation, his favorite kinds of shots (such as "people coming out of darkness"), the studio system, painting and film, and the titular relationship between image and sound. The disc closes with a short discussion by Marilyn Manson, who recounts his first encounter with Lynch and the filming of Lost Highway.
Published by Moderne Kunst Nürnberg. Text by Cathérine Hug, David Galloway, Gerald Matt, Adrian Notz.
With his brutal post-industrial music, theatrical makeup and controversial lyrics about serial killers and Satanism, shock rocker Marilyn Manson has stood as an icon for a generation of dispossessed teens. It is less well known that Manson has been painting pictures since 1999. Genealogies of Pain presents 30 of his paintings, executed over the past ten years. Manson's portraits of cartoonish characters are rendered in delicate pastel colors, but the subject matter accords with his notoriously morbid aesthetic: one figure gnaws off his own fingers, another wears a gas mask. This volume pairs Manson with filmmaker David Lynch, who has also made a living out of mining mankind's darkest carnal fears. Included here are stills from four of Lynch's early short experimental films, Six Men Getting Sick, The Grandmother, The Amputee and The Alphabet, which employ similar themes of physical and psychological trauma. An interview with Manson explores his techniques and relevant art historical traditions.
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.
Published by Hatje Cantz. Text by Werner Spies, Peter-Klaus Schuster, Dietmar Dath, Thomas W. Gaethgens.
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.
Published by Hatje Cantz. Text by Patrice Forest, Dominique Paini.
The workshop of Item Editions is sequestered in a back courtyard off the Rue du Montparnasse in Paris, where artists from all around the world have lithographs made on Solnhofener stones. Here, with the help of the historic presses that have printed masterworks by such artists as Picasso, Matisse and Miró, a durable artistic continues today. Filmmaker, photographer, painter and printmaker David Lynch (born 1946) was captivated by this place and its history, when he first chanced across it in 2007: "I fell in love," he declared. Since his earliest experiments with zinc plates and prints in black and red, Lynch has continued to labor away at Item Editions, recently producing large black-and-white lithographs by drawing directly onto the stone (rather than using the medium to create multiples of pre-existing drawings), experimenting with textures to draw figurative imagery out of abstract patterns, and adding captions to further elucidate their themes. The content of these lithographs clusters around themes familiar to Lynch fans: love, eroticism, dreams and death. David Lynch: Lithos collects all of Lynch's work in this genre. A conversation between Dominique Païni, former director of the French Cinematheque and Centre Georges Pompidou in Paris, and the artist, provides further insight into Lynch's process.