Calling All Monsters: Tim Burton at The MoMA
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Exhibition View, Balloon Boy (2009)
If you haven’t made it to The Museum of Modern Art to see the Tim Burton exhibition yet, you still have another eight weeks to get on line! The show, described by the gallery guide as: “…over seven hundred rarely or never before seen drawings, paintings, photographs, moving image works, storyboards, puppets, concept artworks, maquettes, costumes, and cinematic ephemera…” has been a mob scene since it was unleashed at MoMA in November. On a recent Friday, admission tickets for the exhibit, which are timed at twenty-minute intervals, were sold out by one o’clock in the afternoon.
The main approach to the gallery is lined with video monitors showing a selection Burton’s short subject work, which tends to back up the line of visitors. “Just so you know, you can see all the videos on Youtube!” barked out one of the ticket takers, trying to keep the line moving. No one paid much attention though, already engrossed in the shorts, unaware yet of the really, really good stuff waiting within.
As a terrific foreshadowing effect, the curators have the first room in the gallery illuminated solely by “black light” and featuring a spinning miniature Carousel (2009) — complete with demented carnival music composed by collaborator Danny Elfman— and a selection of Burton’s “Predatory Clown Series” (1985-94). The idea of a sinister menace underlying the surface of everyday life and popular culture echoes throughout the show. No one is safe from monsters disguised as Superman and Snickers Bars and everyday clowns! Oh my!
Tim Burton was driven as an artist and designer at an early age. At fifteen, his design campaign entitled Crush Litter was chosen by the Beautify Burbank Committee, to be displayed on the sides of the city’s garbage trucks.
He had the amazing chutzpah to send his illustrated story The Giant Zlig (1976) to an editor at Walt Disney Studio, a T. Jeanette Kroger. In all earnestness, Burton wrote in the letter of introduction: “I would be glad to make any change that you would feel necessary.”
Unfortunately the editor declined the submission, although praising young Tim’s talent: “…[The story] shows a grasp of language much better than I would expect from one of today’s high school students…the characters are charming and imaginative…”
The letter, manuscript and rejection letter make for one of the highlights of the exhibition, a testament to persistence in the struggle of the artist. Ironically, after completing art school Burton began working at Disney Studios as an apprentice in 1979, and what is even still more ironic, Disney is the producer of his latest film Alice in Wonderland.
What is more fascinating to this viewer than the minutiae of all the framed sketchbook pages, the fantastic creature paintings, and lush Polaroid’s, is the archive considered en masse. This guy never threw anything out or lost his work over the thirty-seven years or so represented in the exhibit. Astonishing! The curators included a report entitled Humor in America, from a Mr. Peterson’s high school class. Old Peterson wrote a comment on the cover: “Good job…some good original material…well organized.” But then gave young Tim a grade of “87.”
Picasso is probably rolling over in his grave,” quips MoMA staffer and NewYork artist Jefre Harwoods, surveying the line of Goth girls and skinny tattooed guys lined up to purchase their very own doll size replicas of Tim Burton creations: Stain Boy, Toxic Boy and Voodoo Girl, which along with the exhibition catalogue, Tim Burton, have been flying off the shelves, “I look up and I think I am in a Tim Burton movie! Hello!”
There is so much to see; perhaps MoMA should have chosen a larger venue for the exhibit. Drawing the most attention is Johnny Depp’s costume from Edward Scissorhands (1990), along with assorted props and story boards from all of Burton’s films, including Pee Wee’s Big Adventure (1985) —“You do know who Pee Wee Herman is don’t you?” one Tween was overheard saying to another—Beetle Juice (1988), Ed Wood (1994), and Tim Burton’s Corpse Bride (2005) to name a few. Fans still have a chance to experience a selection of the films themselves and the monster and horror films that inspired the genius of Tim Burton, scheduled through April 25th. For information visit Tim Burton at MoMA.
Popularity: 14% [?]
Great Article! Very true about the lines/crowds/tweens.
Tim Burton has a unique style when making his movie. I love Nightmare Before Christmas and Edward Scissorhands.”;*
Tim Burton is an eccentric director in my opinion but he has his own unique style;*’
tim burton is just like rober rodriquez, they have those weirdness in their movies”:`
the article is helpful to me.Thank you for the very detailed article
haha,it like a bulb!
good place! if i have a chance i will go!