Someone Is in My House: The Art of David Lynch at the Bonnefanten Museum
The works exhibited at the Bonnefanten Museum in Maastricht, The Netherlands, represent an extensive overview of David Lynch’s non-cinematic output over an artistic career that’s well into its sixth decade. It presents a welcome background to the films that made him famous. It also stresses his stat...
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| Formato: | article |
| Lenguaje: | EN |
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New York City College of Technology
2020
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| Acceso en línea: | https://doaj.org/article/d7c9259c5fa340fabc8771514ca22ec7 |
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| Sumario: | The works exhibited at the Bonnefanten Museum in Maastricht, The Netherlands, represent an extensive overview of David Lynch’s non-cinematic output over an artistic career that’s well into its sixth decade. It presents a welcome background to the films that made him famous. It also stresses his stature as an artist, independent of cinematic renown. What I intend to show here is that both are in fact part of the same expressive gesture—a gesture to which the third season of Twin Peaks marks a crowning achievement and a return to his earliest thematics. What’s more, the use of legible text in the artworks provides a glimpse into the method of the creator of Twin Peaks. Understood as such, we can view them as more than just a background to the films; analyzing this method provides a key approach to the more enigmatic moments of Lynch’s cinematic works. |
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