Dustin Yellin American Artist
22
Dustin Yellin dating history
Who
is he
dating right now?
According to our records, Dustin Yellin is possibly single.
Relationships
Dustin Yellin has been in a relationship with Michelle Williams (2013 - 2014).
Dustin Yellin is rumoured to have hooked up with Mary-Kate Olsen (2011).
About
Dustin Yellin is a 48 year old American Artist. Born on 22nd July, 1975 in Los Angeles, California, USA, he is famous for Suspended Animations. His zodiac sign is Cancer.
Dustin Yellin is a member of the following lists: 1975 births, Contemporary artists and American contemporary artists.
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Relationship Statistics
Type | Total | Longest | Average | Shortest |
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Dating | 1 |
1 year, 1 month
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-
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Rumoured | 1 |
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Total | 2 |
1 year, 1 month
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6 months, 17 days
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Details
First Name |
Dustin
|
Last Name |
Yellin
|
Full Name at Birth |
Dustin Yellin
|
Birthday |
22nd July, 1975
|
Birthplace |
Los Angeles, California, USA
|
Build |
Slim
|
Eye Color |
Blue
|
Hair Color |
Brown - Dark
|
Zodiac Sign |
Cancer
|
Ethnicity |
White
|
Nationality |
American
|
Occupation Text |
Artist
|
Occupation |
Artist
|
Claim to Fame |
Suspended Animations
|
Dustin Yellin (born July 22, 1975 in Los Angeles, California) is a contemporary artist living in Brooklyn, New York. He is known for his work in which the artist embeds "hundreds of little pictures, drawings and images clipped out of magazines, art books and the like" to form complex and intricate tableaux in miniature, which the critic, Gilda Williams, writing in Artforum, noted provides viewers "the ability to occupy a divine vantage point while enjoying an overwhelming sense of discovery and wonder". These works, which the artist refers to as "Frozen Cinema", have been featured at such notable sites as New York's Lincoln Center, the Kennedy Center in Washington D.C as well as at the Brooklyn Museum, where Yellin's work is part of the permanent collection. Yellin has likewise participated in The Metropolitan Museum of Art's Artist Project. According to Andrew Durbin, "Yellin has formalized the central task of art—to archive: feelings, objects, events, selves—in his large glass blocks, recalling in their extreme hermeneutical diversity (forms within forms within forms, images within images within images) both as a past in which the representation of the human form was art's most recognizable enterprise and a future in which that enterprise is deeply complicated by the fact that the human form has been shredded, reformatted, revised, and redesigned, made precarious and permeable by technological and ecological shifts."