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<\/a><\/p>\nAs an artist and frequent museum-goer, I like to think of myself as pretty open minded when it comes to art. Modern art can be tricky for me to appreciate, but I\u2019ll always give it a chance (unlike my father, whose famous line is \u201cIf I <\/em>can do it, it\u2019s not art.\u201d)<\/p>\n However, I found myself constantly checking my knee-jerk responses to Lynch\u2019s art. Initially, I reacted to much of his art, as I did to his films, with revulsion or confusion. I dismissed many of his drawings\u00a0as \u201cchildish\u201d or unskilled.<\/p>\n Lynch has a reputation as a strange filmmaker, and he lives up to that reputation in this exhibition. But viewing his art after being exposed to his films in Greg Steirer’s American Auteurs class gave me a greater appreciation for Lynch\u2019s work in both mediums, which explore similar themes of childhood, home, sex, violence, nightmares, and reality.<\/p>\n My biggest criticism is that Lynch\u2019s approach to these themes was heavy-handed, trying too hard to be provocative or create shock value. I was very impressed by his use of texture, especially through mixed media. Lynch uses everything from cardboard and dolls to Band-Aids and bugs to endow his works with three-dimensionality and create an undeniably tactile and aesthetic experience for the viewer.<\/p>\n The near ubiquitous presence of words in Lynch\u2019s paintings is another compelling aspect of his work, particularly in light of his statement that \u201cThere are things that can\u2019t be said with words. And that\u2019s sort of what painting is all about.\u201d (Doesn\u2019t using words in his paintings seem to subvert this claim?) Maybe it\u2019s because I\u2019m an English major and logophile, but I thought the words in Lynch\u2019s works made his images more palatable; they gave me a reference point to hang on to, as well as added an element of beauty.<\/p>\n My favorite work was Shadow of a Twisted Hand Across My House<\/em>, perhaps because it is more subdued. The neutral greys and impressionistic brushstrokes give this work a contemplative feel that belies a threat of danger. The New York Times<\/em>\u2019s Ken Johnson<\/a> argues that Lynch\u2019s puppet-sculptural works, like Boy Lights Fire<\/em>, are his most impressive pieces, but these were actually my least favorite. Johnson thinks Lynch\u2019s paintings of houses, trees, and human figures are nondescript, but I think they have power in their subtlety. It\u2019s easy to hear you when you\u2019re screaming; few people understand the power of a whisper.<\/p>\n Shadow of a Twisted Hand Across My House<\/p>\n<\/div>\n Boy Lights Fire<\/p>\n<\/div>\n I recommend this exhibition to David Lynch fans, or at least someone with a mild interest in the filmmaker and his oeuvre. Traditional art lovers and the squeamish be forewarned: you\u2019ll be in for a rude awakening.<\/p>\n Six Men Getting Sick<\/p>\n<\/div>\n What better way to punctuate visiting an art exhibit that features vomit as a predominant theme (most notably in Lynch\u2019s famous, prize-winning animated short, \u201cSix Men Getting Sick\u201d) than enjoying a cheesesteak from Reading Terminal Market? I mean, you can\u2019t visit Philadelphia and not <\/em>get a cheesesteak. Lynch aside, I missed you, Philly.<\/p>\n Interested? \u201cDavid Lynch: The Unified Field\u201d runs through Jan. 11 at the Pennsylvania Academy of the Fine Arts<\/a>. To get a taste of the exhibition as a whole, check out this video on Philly.com<\/a>. Let me know what you think of Lynch\u2019s art in the comments below!<\/p>\n Weird. Disturbing. Repulsive. Twisted. Uncomfortable. Darkly comedic. No, I’m not talking about Thanksgiving with my family. I’m talking about David Lynch’s new art exhibit “The Unified Field” at the Pennsylvania Academy of Fine… Continue reading →<\/span><\/a><\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\n<\/p>\n","protected":false},"excerpt":{"rendered":" Continue reading