{"id":2326,"date":"2025-07-09T03:15:15","date_gmt":"2025-07-09T03:15:15","guid":{"rendered":"http:\/\/good-broker.com\/?p=2326"},"modified":"2025-07-09T15:32:20","modified_gmt":"2025-07-09T15:32:20","slug":"dustin-yellin-builds-stratified-glass-sculptures-for-almine-rechs-tribeca-gallery","status":"publish","type":"post","link":"http:\/\/good-broker.com\/index.php\/2025\/07\/09\/dustin-yellin-builds-stratified-glass-sculptures-for-almine-rechs-tribeca-gallery\/","title":{"rendered":"dustin yellin builds stratified glass sculptures for almine rech\u2019s tribeca gallery"},"content":{"rendered":"

layers of time and space by dustin yellin<\/h2>\n

\u00a0<\/p>\n

Dustin Yellin<\/strong><\/a>\u2019s exhibition \u2018If a bird\u2019s nest is nature, what is a house?\u2019 is on view at Almine Rech in Tribeca through August 1st, 2025. This marks the artist\u2019s first solo presentation with the gallery and brings together five new glass-layered sculptures<\/strong><\/a> and a trio of paintings that return to the medium after two decades.<\/p>\n

\u00a0<\/p>\n

Installed across the gallery\u2019s broad footprint at 361 Broadway, the works occupy the space with a quiet density. Yellin\u2019s signature glass sculptures, composed of stratified layers of found materials and painted gestures, sit upright like sentinels, each embedded with fragments of cultural memory and speculative futures. Rather than offering a linear narrative, the sculptures present themselves as vertical timelines \u2014 an architecture of simultaneity, compressed and suspended.<\/p>\n

\"dustin
image \u00a9 Dustin Yellin, courtesy of the Artist and Almine Rech | photo: Dan Bradica<\/a><\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

material memory on view at almine rech<\/h2>\n

\u00a0<\/p>\n

The centerpiece of Dustin Yellin\u2019s Almine Rech<\/a><\/strong> exhibition is titled \u2018The Consequential Nature of the Simultaneous\u2019 (2025) and reads as both a sculptural object and a spatial proposition. Inside its stacked glass panels, a mirrored tableau unfolds: on one side, alien astronauts gather around a NASA spacecraft and particle accelerator. On the other, an imagined Etruscan ceremony plays out in rich detail. Together, they form a structural bridge between scientific modernity and ancient ritual. Terence Trouillot<\/a><\/strong>, writing on the exhibition, describes the work as \u2018an architectural container for converging belief systems, cultural ruins, and space-age imaginaries.\u2019<\/p>\n

\u00a0<\/p>\n

The artist<\/strong><\/a>\u2018s use of layered glass creates chimera from serial sections. It allows the viewer to move through time as one moves around the work, each shift in angle producing a new composition. The sculptures act as dynamic facades, porous and refractive, housing the artist\u2019s enduring inquiry into the nature of memory, collapse, and continuity.<\/p>\n

\"dustin
image \u00a9 Dustin Yellin, courtesy of the Artist and Almine Rech | photo: Dan Bradica<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

a question of shelter and structure<\/h2>\n

\u00a0<\/p>\n

The title of the exhibition, \u2018If a bird\u2019s nest is nature, what is a house?\u2019, functions as a proposition by artist Dustin Yellin. A nest is created through instinct; a house, through design. But both serve as structures of shelter and survival. This line of thinking is echoed in Yellin\u2019s material approach. His sculptures do not mimic architecture but embody its logics: selection, layering, preservation, framing.<\/p>\n

\u00a0<\/p>\n

In this sense, the works resemble living archives. They do not explain, but accumulate. \u2018These are not narrative objects<\/em>,\u2019 Trouillot writes. \u2018They do not explain themselves. Instead, they pose the kinds of questions that recur in Yellin\u2019s larger practice: What survives? What connects? What is the nature of presence across time?<\/em>\u2018<\/p>\n

\"dustin
image \u00a9 Dustin Yellin, courtesy of the Artist and Almine Rech | photo: Dan Bradica<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

The works operate on geological timescales. Their materiality of glass, pigment, magazine clippings, and detritus evokes sedimentation, accretion, erosion. Trouillot points to the influence of \u2018deep time,\u2019 a concept from geology that renders human life as a fleeting moment in planetary history. Yellin\u2019s sculptures, viewed in this context, function as \u2018fossils of thoughts yet to fully form,\u2019 as Trouillot puts it. Their stratified surfaces house what Jacques Derrida might call archival ghosts \u2014 gestures suspended in fragile cohesion.<\/p>\n

\u00a0<\/p>\n

This ethics of scale and memory has long been central to Yellin\u2019s practice, including his work outside the gallery. As founder of Pioneer Works in Red Hook, Brooklyn, Yellin has cultivated a multidisciplinary institution where art and science cohabitate. That impulse to build and layer resurfaces here in material form.<\/p>\n

\"dustin
Dustin Yellin, Arcadia to Empire, 2025<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

Three new paintings included in the exhibition extend these themes. Vivid and hallucinatory, they hover between dreamscape and terrain. Rendered in fluorescent tones, the imagined environments resemble alien geology, their surfaces textured with volcanic crusts and luminous sediment. While more atmospheric than the sculptures, they share a spatial rhythm that is thick with ambiguity as they are difficult to date and suggestive of elsewhere.<\/p>\n

\u00a0<\/p>\n

Yet it is the sculptures that hold the room. They invite sustained attention, and in doing so, create space for reflection. At certain angles, the viewer\u2019s face appears inside the layers, caught between the strata. The works become mirrors, then lenses. \u2018If you move close enough<\/em>,\u2019 Trouillot concludes, \u2018you might even see yourself \u2014 reflected, refracted, paused \u2014 in their layered glass and radiant fragments<\/em>.\u2019<\/p>\n

\"dustin
Dustin Yellin, The Consequential Nature of the Simultaneous, 2025<\/p>\n

\t<\/p>\n

\n

\t\t\"dustin-yellin-almine-rech-birds-nest-nature-house-exhibition-designboom-06a\"<\/p>\n

\n
\n

Dustin Yellin, Seed 7, 2025<\/p>\n

\n<\/div>\n<\/div><\/div>\n

\t\t<\/p>\n

\"dustin
Dustin Yellin, The Habit of Nature (Study 2), 2025<\/p>\n

\t<\/p>\n

\n

\t\t\"dustin-yellin-almine-rech-birds-nest-nature-house-exhibition-designboom-08a\"<\/p>\n

\n
\n

image \u00a9 Dustin Yellin, courtesy of the Artist and Almine Rech | photo: Dan Bradica<\/p>\n

\n<\/div>\n<\/div><\/div>\n

\t\t<\/p>\n

\u00a0<\/p>\n

project info:<\/strong><\/p>\n

\u00a0<\/p>\n

exhibition name: <\/strong>If a bird\u2019s nest is nature, what is a house?<\/p>\n

artist:\u00a0<\/strong>Dustin Yellin<\/a> | @dustinyellin<\/a><\/p>\n

gallery: <\/strong>Almine Rech Tribeca<\/a> | @alminerech<\/a><\/p>\n

location:\u00a0<\/strong>361 Broadway New York, NY<\/p>\n

on view: <\/strong>June 26th \u2014 August 1st, 2025<\/p>\n

install photography:\u00a0<\/strong>\u00a9 Dan Bradica<\/a><\/p>\n

The post dustin yellin builds stratified glass sculptures for almine rech\u2019s tribeca gallery<\/a> appeared first on designboom | architecture & design magazine<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

layers of time and space by dustin yellin \u00a0 Dustin Yellin\u2019s exhibition \u2018If a bird\u2019s nest is nature, what is a house?\u2019 is on view at Almine Rech in Tribeca through August 1st, 2025. This marks the artist\u2019s first solo presentation with the gallery and brings together five new glass-layered sculptures and a trio of […]<\/p>\n","protected":false},"author":1,"featured_media":2330,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[15],"tags":[],"_links":{"self":[{"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/posts\/2326"}],"collection":[{"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/comments?post=2326"}],"version-history":[{"count":3,"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/posts\/2326\/revisions"}],"predecessor-version":[{"id":2344,"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/posts\/2326\/revisions\/2344"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/media\/2330"}],"wp:attachment":[{"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/media?parent=2326"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/categories?post=2326"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/good-broker.com\/index.php\/wp-json\/wp\/v2\/tags?post=2326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}