FRIEZE, NEW YORK
May 14-17, 2026
@alminerech@friezeofficial Booth D04
The Shed
545 West 30th Street
New York, NY 10001
Field Studies (Susurrus), 2026
UV ink, Glass, Epoxy
19.25 x 8 x 6.375 inches
“Goodnight Lamby”, my first film, is officially an official selection of the 79th @festivaldecannes
Join me and producer @darrenaronofsky as we journey through cinema from archival classics to the modern age, world premiering in the incredible Cannes Classics category.
A bit more about Goodnight Lamby:
Starring Paul Rudd and Zia Copernicus Yellin. From the world of visual artist Dustin Yellin, Goodnight Lamby unfolds within a dreamscape where memory and imagination collide. When three-year-old Zia wakes to find her beloved stuffed Lamby missing, she ventures into her father’s surreal, layered sculpture: a vast world alive with danger and discovery.
Traversing shifting environments that span oceans, caves, and outer space, she navigates a series of encounters that test her courage and resolve. What begins as a simple mission becomes a deeper journey through wonder, attachment, and self-knowledge in the quest for Zia’s treasured companion. A @primordialsouplabs production.
Cephaloproteus Riverhead III, 2026
Glass, Epoxy, Acrylic Paint, Collage
71.125 x 27 x 15.75 inches
On view @loweartmuseum at the University of Miami through January 2027
Dustin Yellin: Psychogeographies was made possible by the Palley Family; Linnie E. Dalbeck Foundation; the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade Mayor and Board of County Commissioners; Mosaicist, Inc,; the Lowe Advisory Council; the City of Coral Gables; Beaux Arts Miami, and Lowe Members. This exhibition was sponsored in part by the State of Florida through the Division of Arts and Culture and the National Endowment for the Arts.
FRIEZE, LOS ANGELES
February 26-March 1, 2026
@alminerech@friezeofficial Booth D09
Field Study (Red Shift), 2026
UV ink, Glass, Epoxy
19 x 8.125 x 6.375 inches
“In this rubicund volume, the body is submitted to a rigorous forensic methodology, where representation is superseded by a clinical archiving of the self. A sequence of optical incisions reformats the human figure into a density of temporal data points.
Utilizing this saturated chromatic density, Yellin anchors the figure within a visceral reliquary: a ‘digital-age sarcophagus’ which resists annihilation. Here, the subject exists in a state of perpetual arrival, a fixed quasi-ethereality standing against the transience of history and the inevitable force of loss.”
—Horace Tiller
