David Lynch, 2/22.

Flip through the virtual pages of another issue of another glossy - with David Lynch on the cover, no less (shot by Juergen Teller): the March issue of Art Review.

The occasion: a "major show of Lynch's artwork," writes Skye Sherwin, "The Air Is on Fire - encompassing painting, photography, drawings, film, animation, installation and sound art from the 1960s to the present day - opens at the Fondation Cartier in Paris." March 3 through May 27. Sherwin: "He hasn't felt the need to show his art on a grand scale before, so why, I wonder, does he want to exhibit it now? 'Well... I didn't really want to," is his characteristically perverse response."

Updated through 2/26.

Update, 2/24: Simon Hattenstone interviews Lynch for the Guardian.

Update, 2/25: For the Observer, Sean O'Hagan tours the exhibition with Lynch.

Update, 2/26: "I've often thought of Lynch as a frustrated comedian and nowhere is it more apparent than in Inland Empire," writes Jason Shamai at the San Francisco Bay Guardian's blog, Pixel Vision. "My impatience with Inland Empire put me in mind of Claire Denis's recent film The Intruder, a similarly slippery story that avoids pissing away our good will by knowing just how long her audience can take a particular ride before getting ill. Sure, at 120 minutes it's not exactly a haiku, but every scene feels necessary. You trust the movie, trust that, even if her world isn't necessarily as seductive as Lynch's, it's a fully thought out world. It's narrative disjunction for grownups. And yet, for me, Lynch is where the real party is, which is why his ample missteps are so frustrating. He's already the favorite child - he doesn't need to pull so damned hard at my sleeve."

Posted by dwhudson at February 22, 2007 10:47 AM