Talk:Dustin Yellin

NPOV and SPA
This article feels a little bit too praiseworthy, and not NPOV. Additionally, the main contributors are Single-purpose accounts that have only written on this page and the Pioneer Works pages  or are two IP addresses. This is pretty typical of commissioned pages, or pages where the author has a close connection with the subject. I'm going to flag it on these two vectors. Yellin is clearly notable, but this is a breathless take on his work that needs citations, and some objectivity. Please note I am not dropping the full Template:COI flag, as I want to tread lightly here, though I think it is probably worth considering that. --Theredproject (talk) 18:28, 18 July 2015 (UTC)

-- so he kills animals for art, no discussion of cruelty? — Preceding unsigned comment added by 71.219.212.129 (talk) 16:40, 9 October 2015 (UTC)

Things to reintegrate
In March of 2015 Rizzoli published Dustin Yellin: Heavy Water, a detailed study of his most recent compositions. The book features lush photographs of Yellin's sculptures as well as critical essays exploring the significance of Yellin's work.

Things that are too subjective but could be RW for NPOV
In this composition, with clippings, acrylic, and glass, Yellin perverts the view of nature displayed by the soaring landscapes of 19th-century romantics like Frederic Edwin Church. Instead of a glorious image of nature and spirit, Yellin presents a vicious, surreal spectacle, a mythical, livid cataclysm. Humankind is caught unawares by a divine reckoning and elemental forces smash the organized world into disconnected pieces. The preternatural scene recalls the orgiastic, aberrant violence of Hieronymous Bosch, with the wickedly sunny garden recast as an ominous, roiling sea.

Invoking ancient religious tradition, a monstrous goddess appears, terrible in her vengeance, purging herself of the bile of ages. Creation myth surfaces as a volcano rises from the depths of the sea, spitting bodies and otherworldly debris, flooding a city it once warmed.And Yellin’s own wary ambivalence toward modern civilization is also on graphic display. Carefully chosen clippings depict an array of clever, innovative tools, but despite its marvelous achievements, human technology appears helpless when confronted by colossal power. Material progress is drowned.

In the scale of its ambition, Pioneer Works recalls P.S.1, the contemporary art center founded by Alanna Heiss in 1976. It has been called Yellin’s “Gesamtkunstwerk”—translatable as “total work”—a term borrowed from German social theorists of the latter half of the twentieth century. Yellin’s vision for Pioneer Works was in fact inspired by Joseph Beuys’ notion of social sculpture. Initially dubbed The Intercourse (arts center) in an effort to describe the intended cross-pollination, the site was a space where artists and thinkers from diverse disciplines could come together to produce social change through innovative work, “a place the community can grow out of and exchange ideas – where disciplines can cross, where you can have painters and sculptors, but also filmmakers and musicians and scientists all under one roof”.

When Yellin scouted the site in 2010, the building was packed floor-to-ceiling with boxes and crates, remnants of the stock of the prior owners, a moving and storage company. The interior was so crowded it was difficult to see without a flashlight. The yard was overflowing with junked cars, tires, broken furniture, and concrete rubble. Months of labor were required before renovations could even begin.

Tons of topsoil were trucked in, hills were fashioned with heavy equipment, and even a tunnel, four-feet in diameter, was buried within one of the mounds. Over two growing seasons, Yellin—working closely with garden designer Taylor Drayton Nelson from the venerable Magnolia Gardens in Charleston, SC—planted an extensive green space, complete with fruit trees and vegetable garden. The garden is home to a rotating cast of sculptural works, including a guest house built entirely within an otherwise normal dumpster.

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Re-adding article flags // COI editing
Hello, I notice that you removed the flags I put on the article prior to making any edits. Your edits did add citations, primarily to one source, but they did not change the tone of the article, which is not WP:NPOV. I also note that you likely have an undeclared WP:COI given that you yourself are quoted as a friend of the subjects in the Vanity Fair article you added as the source. If you would like to continue editing, you must declare your COI. If you don't declare your COI, your edits will likely be reverted, given the history COI/promotional editing of the article.

I also flagged your uploads on commons, because the images were professional, and had conflicting authorship in the EXIF info. If Yellin does have rights to them (eg. the photography was work for hire) the key thing is Yellin needs to send an email declaring the work CC. See this page OTRS "This page in a nutshell: If a copyrighted file is uploaded by someone who is not the copyright holder, and the copyright status is not stated at the external file's source, then the copyright holder needs to explicitly grant permission for the distribution of the file under a free license. You can send permission statements to Wikimedia using the release generator." You can create an email here: https://tools.wmflabs.org/relgen/ --Theredproject (talk) 17:34, 17 April 2018 (UTC)

TNT
Hello 74.73.240.141 Thank you for your contributions here. I appreciate that you saw the need to WP:TNT this article, and I see that you are still actively working on it. May I offer a few suggestions:
 * You might consider creating an account, rather than simply editing from an IP address. Given the history of WP:COI IP address editing on this page.
 * Some of the material you erased could be recovered. Some of the bit about process I thought was useful, given that his works are so process-heavy.
 * Try to avoid long lists of exhibitions. Generally, a paragraph of summary is preferred.
 * Try to avoid quotations (especially long ones) in preference for summary. Avoid close paraphrasing if possible.
 * Especially watch out for phrases that are not neutral (see WP:NPOV)
 * And really be careful using Reuters press release style language "embarking on what might be the most ambitious and symbolically significant sculpture in history" here. If created, it may be the tallest (e.g taller than Eiffel and Pyramid), but most ambitious? Symbolically significant? Seems premature to make that claim.
 * Be careful when writing about works that are proposals, like The Bridge, as if they exist. This could be read as WP:PROMO.
 * Lastly, you should always have a conversation before removing templates like COI, especially if there is a history of those templates being removed and then restored. I'm going to restore those templates now, and after you feel you have completed your work, we can have a conversation about what to do re: templates/flags. --Theredproject (talk) 15:31, 9 October 2019 (UTC)