At the Design Museum in London, a world-touring exhibition highlights the unique passions and obsessions of director Tim Burton, showcasing his creative journey while exploring the question: is Burton truly an auteur? As one of the leading figures in gothic cinema, Burton has turned his distinct style into a recognizable brand, putting a quirky spin on horror that resonates with audiences globally.
This exhibition, curated by Burton’s “in-house team,” marks its final stop in London and displays a compact, easily transportable format that feels polished but lacks the depth of critical inquiry. While it presents Burton’s creative process, it shies away from delving into the technical collaborations and the uneven quality of his later work.
Contrary to what many might believe about his origins, Burton wasn’t born in a gothic castle but instead in a suburban neighborhood of Burbank, California—a place he describes as soul-crushingly mundane. The exhibition’s first section features early drawings by Burton, including anti-litter posters and horror-themed sketches displayed against a backdrop of identical suburban house facades. In a video clip, Burton discusses how he resisted Burbank’s conformity, yet the exhibit offers little insight into what made his upbringing so intolerable.
Among his early works are illustrations inspired by Halloween, reminiscent of Edward Gorey and Charles Addams. The show also features memorabilia like an art nouveau edition of Edgar Allan Poe’s “The Raven” and a vintage poster for the cult classic “The Oblong Box,” starring legends Vincent Price and Christopher Lee.
Burton’s fascination with the macabre is brought to life in his 1982 short film “Vincent,” which explores the story of a boy yearning to embody the essence of Vincent Price—a narrative that serves as a manifesto for his alternative American gothic approach. Puppets from his early films, such as the iconic Edward Scissorhands and characters like Sally and Jack Skellington, illustrate how he maintained fidelity to this subversive vision throughout his career.
As viewers navigate the exhibition, they are struck by Burton’s ability to transform Poe’s dark romanticism into a commercially successful formula. Yet, not everything in the exhibition resonates; artifacts like Michelle Pfeiffer’s Catwoman costume fail to convey the same magic without their original contexts, particularly her commanding performance.
While Burton’s artistic vision flourished in iconic films of the late 1980s and early 90s, such as “Edward Scissorhands” and “Beetlejuice,” questions linger about his portrayal of American culture and how that evolved into works like “Sleepy Hollow,” which took liberties with Washington Irving’s classic tale.
Though the exhibition offers a glimpse into Burton’s imagination through costumes and props, it ultimately presents a fragmented narrative of his creative evolution, featuring later work within the context of high art that doesn’t fully capture his original genius. Visitors may enjoy the playful elements of the show, especially around Halloween, but its impact may fade long before the holiday season concludes.
The exhibition runs at the Design Museum from October 25 to April 21.
