John Yau | Mason Gross School of the Arts, Rutgers The State University of New Jersey (original) (raw)
Papers by John Yau
Young and Brash and Abstract features eleven young abstract painters in their twenties and thirti... more Young and Brash and Abstract features eleven young abstract painters in their twenties and thirties currently working in and around New York. They originate from Spain, Japan, Korea, and England as well as the United States. Crossing ethnic, social, and economic boundaries they represent the multi-cultural diversity that is synonymous with New York City, with only the commonality of abstraction among them. Many of them draw and use line in their work. They are influenced by culture as much as by nature, memory as much as by imagination. The artists included are Henry Brown, Theresa Chong, David Brody, Christopher Francione, Anna Vilarrasa, Lisa Stefanelli, Steven Charles, Hiroshi Tachibana, Jennifer Riley, Kathleen Kucka, and Walter Biggs
Massachusetts Review, 2018
Art Journal, 1993
... FIG. 3 Archie Rand and John Yau. The Attist as Paultry Inspector, watercolor on paper, 20 x 1... more ... FIG. 3 Archie Rand and John Yau. The Attist as Paultry Inspector, watercolor on paper, 20 x 14 Inches. Courtesy FeigensonIPreston Gallery, Birmingham, Mich. ART JOURNAL Page 3. 74 FIG. 4 Alexis Smith and Amy Certsler, Past Lives, 1990, installation, Josh Baer C ...
The retrospective exhibition of the work of William T. Wiley that this publication accompanies is... more The retrospective exhibition of the work of William T. Wiley that this publication accompanies is the first to be organized since 1979, when Wiley Territory opened at the Walker Art Center in Minneapolis. Thirty years later, "What's It All Mean: Willliam T. Wiley in Retrospect", considers the artist's entire career (including films) through 2008. The art of William Wiley (b. 1937) has stood the test of time in the face of changing styles, successive movements, critical theories, and passing fashion. Wiley's self-deprecating humor and sense of the absurd make his art accessible even to those who do not comprehend his more ambiguous ideas, allusions, narratives, private symbols, and layers of meaning. His liberal use of puns makes more palatable his deadly serious commentary on war, pollution, global warming, racial tension, and other threats to contemporary civilization. Wiley is best known as a leading California artist, whose influence and importance in the San Francisco Bay area are well established. This exhibition and catalogue affirm his significance as an artist of national stature whose accomplishment resonates well beyond the region in which he has chosen to live and the time period when he first achieved recognition. It is co-published by Smithsonian American Art Museum.
It began on Columbus Day. By then all the guests had left, leaving them a strapless yellow satin ... more It began on Columbus Day. By then all the guests had left, leaving them a strapless yellow satin evening gown, a tran sistor radio from Hong Kong, and a pencil box from "Leo's Lion Preserve" thirty miles away, in Burnesville. And in the following week it remained unspoken of, as Harold vacuumed the floors and Edith washed and packed the sheets and tow els. Together they boarded up the windows. As the list taped to the wall beside the kitchen door grew a web of thick red lines over its neatly penciled columns, their anxiety (which was their only possible response to their un spoken desire) rose in the morning with the efficiency of sun rise. And spread through their days like the sharp autumn wind that had begun blowing in from offshore. In short, the days were filled with the wish that the hours would pass. Finally, after everything was accounted for, Harold disap peared; only to reappear two mornings later, walking noncha lantly down the graveled path, past the reddish-orange flamingo and rusted hibachi in front of the sign, Sun & Surf, as Jonathan.
Choice Reviews Online, Jul 1, 2009
At some point, we all crave something. That craving -- an unnatural longing -- can be as innocuou... more At some point, we all crave something. That craving -- an unnatural longing -- can be as innocuous as a strong desire for chocolate or a cigarette. Chinese food. Crocodile leather heels. An angora sweater. But at the heart of all intense desires lie impulses heavy with psychosexual implications. This anthology, put together by New York cultural hipster John Yau, explores some of the more extreme variations on this theme. Many of the stories in "Fetish" are wildly funny -- absurd to those of us with a 'normal' mindset -- and others expose readers to a psychic underbelly, at once menacing and intriguing. Many appear here in print for the first time.Sex with corpses, John Yau's feet, S&M bars, and magical aerosol sprays are discussed -- in depth -- algongside pederasty, unfulfilled and unfulfillable longings, aching for lost love, and dreaming of a body not one's own.
Since photography was first developed in the mid-19th century, artists have been incorporating it... more Since photography was first developed in the mid-19th century, artists have been incorporating it in their work. Randy Hayes follows in that tradition, combining the stop-action immediacy of photos with the timeless commentary of painting to produce provocative, many-layered images. His unique method of "veiling" photographs with semi-translucent washes of paint puns the themes he illustrates. During the first 15 years of his career, Hayes focused on individuals whose identity is defined by how they present their bodies - transvestites, transsexuals, prostitutes, strippers, and boxers. For the last decade, he has shifted his interest to figures - usually women - who are veiled, turned away, or partially hidden by what they wear. In a sort of redefined cubism, the artist uses a series of snapshots to present a scene from all sides and perspectives. Multiple images and moments invite the viewer to participate in the drama of the painting. The viewer's examination of the painting's physical layers echoes the exploration of its layers of meaning. John Yau lives in Manhattan and teaches at the Maryland Institute, College of Art. His most recent books include "My Symptoms", "The United States of Jasper Johns", and "Fetish."
Young and Brash and Abstract features eleven young abstract painters in their twenties and thirti... more Young and Brash and Abstract features eleven young abstract painters in their twenties and thirties currently working in and around New York. They originate from Spain, Japan, Korea, and England as well as the United States. Crossing ethnic, social, and economic boundaries they represent the multi-cultural diversity that is synonymous with New York City, with only the commonality of abstraction among them. Many of them draw and use line in their work. They are influenced by culture as much as by nature, memory as much as by imagination. The artists included are Henry Brown, Theresa Chong, David Brody, Christopher Francione, Anna Vilarrasa, Lisa Stefanelli, Steven Charles, Hiroshi Tachibana, Jennifer Riley, Kathleen Kucka, and Walter Biggs
Massachusetts Review, 2018
Art Journal, 1993
... FIG. 3 Archie Rand and John Yau. The Attist as Paultry Inspector, watercolor on paper, 20 x 1... more ... FIG. 3 Archie Rand and John Yau. The Attist as Paultry Inspector, watercolor on paper, 20 x 14 Inches. Courtesy FeigensonIPreston Gallery, Birmingham, Mich. ART JOURNAL Page 3. 74 FIG. 4 Alexis Smith and Amy Certsler, Past Lives, 1990, installation, Josh Baer C ...
The retrospective exhibition of the work of William T. Wiley that this publication accompanies is... more The retrospective exhibition of the work of William T. Wiley that this publication accompanies is the first to be organized since 1979, when Wiley Territory opened at the Walker Art Center in Minneapolis. Thirty years later, "What's It All Mean: Willliam T. Wiley in Retrospect", considers the artist's entire career (including films) through 2008. The art of William Wiley (b. 1937) has stood the test of time in the face of changing styles, successive movements, critical theories, and passing fashion. Wiley's self-deprecating humor and sense of the absurd make his art accessible even to those who do not comprehend his more ambiguous ideas, allusions, narratives, private symbols, and layers of meaning. His liberal use of puns makes more palatable his deadly serious commentary on war, pollution, global warming, racial tension, and other threats to contemporary civilization. Wiley is best known as a leading California artist, whose influence and importance in the San Francisco Bay area are well established. This exhibition and catalogue affirm his significance as an artist of national stature whose accomplishment resonates well beyond the region in which he has chosen to live and the time period when he first achieved recognition. It is co-published by Smithsonian American Art Museum.
It began on Columbus Day. By then all the guests had left, leaving them a strapless yellow satin ... more It began on Columbus Day. By then all the guests had left, leaving them a strapless yellow satin evening gown, a tran sistor radio from Hong Kong, and a pencil box from "Leo's Lion Preserve" thirty miles away, in Burnesville. And in the following week it remained unspoken of, as Harold vacuumed the floors and Edith washed and packed the sheets and tow els. Together they boarded up the windows. As the list taped to the wall beside the kitchen door grew a web of thick red lines over its neatly penciled columns, their anxiety (which was their only possible response to their un spoken desire) rose in the morning with the efficiency of sun rise. And spread through their days like the sharp autumn wind that had begun blowing in from offshore. In short, the days were filled with the wish that the hours would pass. Finally, after everything was accounted for, Harold disap peared; only to reappear two mornings later, walking noncha lantly down the graveled path, past the reddish-orange flamingo and rusted hibachi in front of the sign, Sun & Surf, as Jonathan.
Choice Reviews Online, Jul 1, 2009
At some point, we all crave something. That craving -- an unnatural longing -- can be as innocuou... more At some point, we all crave something. That craving -- an unnatural longing -- can be as innocuous as a strong desire for chocolate or a cigarette. Chinese food. Crocodile leather heels. An angora sweater. But at the heart of all intense desires lie impulses heavy with psychosexual implications. This anthology, put together by New York cultural hipster John Yau, explores some of the more extreme variations on this theme. Many of the stories in "Fetish" are wildly funny -- absurd to those of us with a 'normal' mindset -- and others expose readers to a psychic underbelly, at once menacing and intriguing. Many appear here in print for the first time.Sex with corpses, John Yau's feet, S&M bars, and magical aerosol sprays are discussed -- in depth -- algongside pederasty, unfulfilled and unfulfillable longings, aching for lost love, and dreaming of a body not one's own.
Since photography was first developed in the mid-19th century, artists have been incorporating it... more Since photography was first developed in the mid-19th century, artists have been incorporating it in their work. Randy Hayes follows in that tradition, combining the stop-action immediacy of photos with the timeless commentary of painting to produce provocative, many-layered images. His unique method of "veiling" photographs with semi-translucent washes of paint puns the themes he illustrates. During the first 15 years of his career, Hayes focused on individuals whose identity is defined by how they present their bodies - transvestites, transsexuals, prostitutes, strippers, and boxers. For the last decade, he has shifted his interest to figures - usually women - who are veiled, turned away, or partially hidden by what they wear. In a sort of redefined cubism, the artist uses a series of snapshots to present a scene from all sides and perspectives. Multiple images and moments invite the viewer to participate in the drama of the painting. The viewer's examination of the painting's physical layers echoes the exploration of its layers of meaning. John Yau lives in Manhattan and teaches at the Maryland Institute, College of Art. His most recent books include "My Symptoms", "The United States of Jasper Johns", and "Fetish."