David Lynch: It Happened at Night, Galerie Karl Pfefferle, Munich, Germany, October 26–December 22, 2012. Mazzoleni, Gianemilio. “cosa va in scena: arte, musica, cinema, libri.” Style Magazine, March 2007: 283. David Lynch: New Paintings, Griffin and Corcoran, Santa Monica, California, September 12–December 12, 2009. If you expected a David Lynch biography to be just like any other biography, you've never seen a David Lynch movie…Fascinating.’ Ash, Romy. “The dark inspiration of American auteur David Lynch.” The Saturday Paper, 21 March 2015. Web.

Offers countless new stories, even for Lynch fanatics…All is told with Lynch’s considerable charm.’ Hundley, Jessica. “New David Lynch Exhibit Explores Filmmaker’s Multidisciplinary Career.” The Hollywood Reporter, 3 December 2013.

Retailers:

Scardi, Gabi. “Acolloquio con David Lynch: Sono inamorato delle idee.” Il Sole-24 ORE, 25 February 2007: 30. He likes people and people really like him. But he’s not good at balancing his work and home life – he’s worked his way through quite a few wives.

Lynch also revealed that he initially turned down Steven Spielberg’s offer to play a cameo in The Fabelmans as celebrated director John Ford, saying that he recommended fellow director Peter Bogdanovich instead. However, he said he had been persuaded by his Wild at Heart actor Laura Dern; he did not confirm that he had requested Cheetos on set, but did say he felt comfortable in the costume that the film had provided: “It was pretty much my kind of clothes: I like high-waisted pants.” In theory the idea was to frame the book in terms of a core duality of subjective and objective treatment in a way that would reproduce one of the core concerns of Lynch's art, which often explores and deconstructs that same duality. In practice it often does not really function in that way, but as is so often the case with Lynch, there is in fact a curious question of effect that lingers, where you are confronted by many pressing questions about the book's subject by virtue of this inside/outside account. Reassuringly unconventional…Engrossing...Lynch writes like he speaks. He's disarmingly direct, cheerfully profane and prone to bursts of giddy enthusiasm.’ Penna, Azzurra Della. “Da regista a pittore Lynch espone a Parigi.” MF Fashion, 9 February 2007: 8. Ferguson, James. “Twin Arts: David Lynch’s paintings are as dark as his films.” Financial Times, 17 March 2007: 6–7.

Fetish: David Lynch, Photographies; Christian Louboutin, Souliers (exhibition catalogue). Paris: Regard, 2007. Sheen, Erica; Davison, Annette (2004). The Cinema of David Lynch: American Dreams, Nightmare Visions. Wallflower Press. ISBN 978-1-903364-85-7. Traditional and comprehensive on one side while whimsical and irreverent on the other, Room to Dream manages to have it both ways...[A]n enthusiastic, contagious tribute to creativity itself.’ Lynch describes the experience of "diving within" and "catching" ideas like fish - and then preparing them for television or movie screens, and other mediums in which he works, such as painting, music, and design. Lynch writes for the first time about his more than three-decade commitment to Transcendental Meditation and the difference it has made in his creative process. Gosling, Emily. “David Lynch’s damn good new MIMA show explores his use of naming.” It’s Nice That, 14 November 2014. Web.