John Yau is a critic at Black Square Editions. He focuses on fine art, art dealing, digital art, and urban art & street art, exploring the intersections of art, architecture, and entertainment. His work has been featured in MutualArt, Elephant Magazine, Hyperallergic, The Baffler, Artforum, and ARTnews.
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John Yau's articles largely encompass art and culture, with a notable emphasis on reviews and industry-specific insights. He seems likely to appreciate pitches offering in-depth analysis of contemporary artistic trends or specific artworks, as well as announcements within the art world.
Given his coverage focus on Los Angeles and contemporary art, he may be interested in receiving pitches related to new gallery openings or major exhibitions in this area. Additionally, considering his interest in street art, he might also welcome pitches related to urban art events or initiatives.
Yau's broad thematic coverage suggests that while primarily focused on arts and culture, he also delves into entertainment news and scientific topics. Therefore, those pitching him should consider tailoring their content accordingly to align with these broader themes when applicable.
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Betty Parsons 's importance in postwar American art history as a fearless, groundbreaking art dealer is indisputable.
Pritzker-winner Wang Shu's design for the Ningbo Historic Museum reconciles China's nostalgia with its desire for a shiny, avant-garde future.
The painter reconciles modernist conventions like the grid with one-point perspective, creating something fresh and entirely her own.
Is René Balcer a street photographer, a documentary photographer, or a landscape photographer? All the above and more.
This exhibition of painters Brenda Goodman, Steve DiBenedetto, and Bendix Harms pushed me out of my comfort zone.
He went from being a satirist of America's ideals to a parody of himself, an artist content with other artists' masterpieces.
His syncretic style melds Pop Art's cool, outlined forms with expressionism's figural distortions, resulting in a perturbing ambiguity.
“Krasner and Pollock: Past Continuous,” at the Metropolitan Museum of Art, is a once-in-a-lifetime gathering of more 120 works by America's most
He brought his optical preoccupations into the 21st century, without losing his love of artists from earlier eras.
The tranquility of his views, the closeness of his tones, and the evenness of his light bespeak his continual wonderment at existence.
