Tim Burton shows off at MoMa

True to form, the entrance to the Museum of Modern Art’s Tim Burton exhibition is formed from the gaping maw of a malformed clown.

As you pass through the jaws, thickly banded black-and-white stripes covering the walls of the tunnel ahead lure patrons deeper in. Six short animated episodes of a series entitled “The World of Stainboy” played on screens recessed into the walls. These short animations created with Macromedia Flash, are slightly uncharacteristic of Burton’s artistic style as far as tone and appearance and lack any real coherent plot. Stainboy appears as if it were an experiment in Flash that should have remained strictly on Burton’s desktop.

But as you reach the end of the tunnel, Burton does not disappoint. An eerie room filled with peculiarities greets viewers accompanied by the musical stylings of Danny Elfman. The room is dark, utilizing black lights to illuminate all the artwork reminiscent of “The Nightmare Before Christmas.” A figurine of Oogie Boogie made up of foam latex, aluminum and steel stands behind a glass case. Lining the walls are acrylic paintings on black velvet with highlighted fluorescent paint by the black light.

“Carousel,” made up of epoxy, polyester resin, a plasma ball, muslin, fiberglass, foam and fluorescent paint in a large 3-D piece with varied Burtonesque elements, is the focal point of the first chamber. The multi-tiered carousel located on the bottom half incorporates the use of bizarre, unrealistic and nightmarish creatures, that spun slowly around, showcasing their strangeness to the occupants of the room.

The last room ticket holders enter is a spacious, well lit room where Burton’s work is displayed by time period, from the 70s to the present. Viewers can see the progression of his thought process as notes and initial etchings of his ideas evolve into detailed drawings and paintings.

One of his works, “The Giant Zlig,” was an early attempt at a children’s book whose pages were showcased beside each other in sequence. Burton sent this, along with a handwritten letter in cursive, to Disney in 1976 and got a rejection letter from the editor at the time, the late T. Jeanette Steiner. “Zlig” shows the transformation that Burton’s work has gone through from his first attempt as an artist to the present.

One part of the exhibit featured “Vincent,” a poem written by Burton transformed into a short black and white claymation film. “Vincent” is about a seven-year-old boy named Vincent Malloy who wants to be just like Vincent Price; it shares elements similar to that of Poe’s “The Raven.” Surrounding the video installation is a sequence of sketches and inked drawings, handwritten notes to more detailed and completed inkings relating to “Vincent.”

The “Edward Scissorhands” display was one of the most well-done areas of the room. Not only did it feature Burton’s illustrations of Edward’s complex hands and his transformations throughout the film, but the actual evolution of Edward’s appearance from his initial sketches. There was also a yellow steno book with Burton’s signature cursive which reads into the beginnings of the movie where Kim, played by Winona Ryder, begins to explain the origin of snow to her granddaughter.

Burton’s work also includes his more recent works such as “Corpse Bride,“ “Sweeney Todd” and “Alice in Wonderland.” The actual razors and case used in “Sweeney Todd” rested behind a glass case.

Burton’s art exceeds your wildest imaginations as each section details his ideas from conception to completion, visually. Burton uses color to turn what should be the everyday norm, into something strange and occasionally unsettling. He combines this with distorted perspectives, vivid patterns and crooked, uncomfortable lines to create his trademark work. This exhibit allows fans of Burton’s work to gain a rare glimpse into the mind of the artist.

The Tim Burton exhibition runs from Nov. 22-April 26, and gallery occupancy is limited. In order to avoid overcrowding, the Museum of Modern Art suggests purchasing timed-entry tickets before visiting.