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source: galerieartconcept
Jacob Kassay is born in 1984 in Lewiston, NY. He lives and works in Los Angeles. His work is present, among others, by the following institutions : Collezione Maramotti, Reggio Emilia, Italie; Museum of Fine Arts, Boston; FRAC Poitou-Charentes, Angoulême, France; Albright Knox Art Gallery, Buffalo; Museo Di Arte Moderna e Contemporanea, Rovereto, Italie. Exhibitions : 303, New York (2013); Art:Concept, Paris (2013) Untitled (disambiguation), The Kitchen, New York (2012), No Goal, The Powerstation, Dallas (2012), Xavier Hufkens, Brussels (2012)
Kassay’s work concerns a formal approach to the placement and objectivity of paintings. Adhering to a set of strict reductive strategies shared by modern artists, Kassay’s work focuses on situating objects according to their spatial limits while foregrounding the experience of the contingencies and provisional duration of their exhibition.
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source: xavierhufkens
Jacob Kassay’s practice is concerned with experimental and conceptual method and making. Hovering between painting, sculpture and interactive installation, his work is conceived as a response to space. The arrangement of an exhibition and how his pieces interact with the surrounding architecture – and ultimately their audience – is key to understanding the essence of his work. Kassay’s paintings interrelate and form multiple dialogues: with each other, with the space around them and with the viewer. His silver paintings, for example, oscillate between absence and presence. Made using an electroplating technique that references early photography, they are like blurry mirrors that reflect the world around them. The movement of colours across their surface, and changes in the light, subtly and continuously alter the appearance of the works throughout the day. The language of materials is important to Kassay, who pays great attention to form, surface and physicality. Although lacking marks that could be conceived as gestural, a close inspection of his seemingly blank or monotone paintings reveals traces of their making – small incidental marks, or burnt edges, for example. Jacob Kassay’s practice also encompasses film and sculpture.
Jacob Kassay studied photography at the State University of Buffalo. Solo exhibitions include PS1, New York (2013) and the ICA, London (2011). The presentation of his work at the Collezione Maramotti in Italy in 2010 received great attention. He first exhibited at Xavier Hufkens in a group show in 2011.
Jacob Kassay was born in Lewiston, New York, in 1984. He lives and works in Los Angeles.
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source: sp-arte
Kassay figura entre os recentes talentos da nova geração de artistas. Ele nasceu em Nova York, mas vive e trabalha em Los Angeles, na Califórnia.
Seus trabalhos já foram exibidos em seu país de origem e Europa. Ele aparece entre os artistas com menos de 30 anos mais renomados dos Estados Unidos, segundo a Forbes. Uma de suas obras foi leiloada por quase 300.000 dólares.
Alguns dos trabalhos de Kassay fazem parte de importantes coleções, como as do Museum of Fine Arts, em Bostom, e do Museum of Contemporary Art, de Chicago.
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source: arteseanpblogspot
Jacob Kassay (1984-) Nasceu em Lewiston, Nova York. Graduou-se em 2005 pela State University of New York, Buffalo. Participou da Bienal de Gwanju. Em 2011, fez sua primeira individual num museu o Institute of Contempory Art, Londres. Vive e trabalha em Nova York. Em pouco tempo, Kassay conseguiu extraordinário sucesso comercial. Uma de suas telas atingiu o preço de US$ 300 000 considerado exorbitante por muitos críticos. Há uma fila de espera para aquisição de seus trabalhos. Uma das explicações para valores tão elevados seria o material utilizado, uma mistura de acrílica e prata, que sofrem uma reação química criando superfícies espelhadas com reflexão da imagem do espectador.
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source:
Jacob Kassay est un artiste pluri-disciplinaire, sa pratique comprend aussi bien des peintures, des oeuvres sur papiers, des vidéos que des collaborations avec d’autres artistes et musiciens. Pour la présente exposition, ce jeune artiste new-yorkais présentera une nouvelle série de peintures abstraites aux surfaces métalliques argentées. Les oeuvres de Jacob Kassay jouent au sens propre comme au figuré sur l’opacité, le reflet et le transfert. Ses monochromes argentés, réalisés par un procédé industriel et chimique d’électro-galvanisation, s’offrent directement au visiteur par l’expérience sensible, notamment par l’interaction qui s’opère lorsque le spectateur se place dans le champ de la toile, comme devant un miroir. La surface unie et réfléchissante des peintures est d’une certaine façon temporairement modifiée par le passage du visiteur.
Cette altération est à prendre au sens musical du terme, il ne s’agit pas d’une dégradation, mais bien d’une modification de la hauteur et de la source de la lumière, comme un dièse ou un bémol modifie la hauteur d’une note sur une partition. La juxtaposition de l’ensemble des peintures est aussi importante que les reflets de la lumière ou le rendu opaque de l’environnement se réfléchissant à la surface du tableau. Les variations de la surface picturale sont des composantes inhérentes de l’expérience de ces oeuvres. À ce titre, l’artiste contrôle soigneusement leur reproduction, afin de ne pas diffuser des images qui transformaient ces oeuvres en de simples tableaux à la surface plate et argentée. Il refuse donc toute prise de vue frontale et cadrée sur une seule peinture. Les peintures de Kassay créent un espace, les reflets opaques et flous donnant l’illusion de la profondeur. Au-delà de l’impact de la lumière qui modifie la perception de n’importe quelle peinture, c’est davantage l’importance donnée à l’espace entre le spectateur et la planéité de la toile qui devient une mise en abîme de la part immatérielle et conceptuelle de la peinture. S’agit-il d’une évocation de l’immatérialité telle qu’Yves Klein l’a révélée avec ses monochromes bleus IKB ? L’artiste cherche-t-il à s’inscrire dans l’alignement de la tradition historique qui consiste à concevoir le tableau comme une fenêtre sur le monde et sa possible représentation? Serait-ce plutôt une référence à l’usage des miroirs dans les oeuvres de l’Arte Povera ou de l’art minimal (Smithson, Pistoletto ou Morris) ? Kassay cultive délibérément l’opacité du reflet. L’effet paradoxal de ces objets-peintures joue sur l’impossibilité de cette synthèse trans-historique et convoque en filigrane la volonté moderniste, peut-être absurde, de vouloir radicalement rompre avec la peinture classique par le biais du monochrome. L’artiste est cependant venu à la peinture par le biais de la photographie. La durée, l’instantané lié à la diffusion de la lumière, la fabrication d’une image en perpétuelle révélation et la profondeur de champ sont autant de termes qui permettent de mieux saisir son oeuvre et qui sont empruntés au vocabulaire de la photographie. Le procédé technique de ces images argentées participe d’une forme de nostalgie, évoquant les techniques photographiques archaïques de la fin du XIXe siècle. Bien que ces peintures soient réalisées industriellement, Kassay a détourné la fonction première de la photographie. Chaque peinture offre un résultat formel différent, il ne s’agit plus donc plus de reproduire. Il a également délégué son geste à l’industrie. Une distance critique s’établit ainsi par rapport à la nostalgie d’une technique devenue obsolète et aux interprétations de ces surfaces faussement expressionnistes. L’artiste opère donc par le transfert d’un médium à l’autre. L’exposition articule de multiples réflexions sur l’illusion de la sérialité et l’impossible répétition, sur la perte liée au transfert comme à l’interprétation.
His practice includes painting, works on paper, mixed media, film, installation and collaborative projects. However, on the occasion of the current show, this New York artist will present a series of abstract paintings with silver metallic surfaces. Jacob Kassay’s pieces play, both literally and figuratively, with notions of opacity, reflection and transfer. His monochromes are chemically produced by means of an industrial technique – electro-plated in silver. They give themselves off to the spectator thanks to the interactive perceptibility that operates when he places himself in front of them to perceive his own faint reflection. The smooth and shiny surface of these paintings is somehow temporarily altered by the spectator’s passage. Far from being a loss, this alteration is to be understood in the sense of “musical inflection”, a shifting of the light level and source that influences the work much in the same way as a sharp or a flat could modify the pitch of a musical note.
The juxtaposition of an ensemble of paintings is as important as the light-reflection and opaque denseness of the reflected environment. Any variation of the perception of the painterly surface is to be considered as inherent to this artistic project. On this account, the artist carefully keeps control of their reproductions and makes sure that published images do not convey the image of simple homogeneous and silver monochrome-paintings. He refuses front-views of any single pieces. Kassay’s paintings create a space-continuum in which the blurred and opaque reflections convey illusions of depth. Beyond the impact created by the light that alters any painting’s surface, we find that the importance granted to the space between the spectator and the inherent flatness of the canvas turns into a rebounding reference to the immaterial and conceptual sides of painting. Could this be the calling forth of immateriality as previously evoked by Yves Klein’s IKB* monochrome-paintings ? Is the artist trying to inscribe his work in the historical tradition that consists in conceiving a painting as a window to be opened on the world and its possible representation? Or is he rather making references to the use of mirrors in Arte Povera and Minimal Art (Smithson, Pistoletto and Morris) ? Kassay deliberately cultivates opacity of reflection. The paradoxical effect of these painterly-objects is all based on the impossibility of operating a trans-historical synthesis and implicitly evokes the modernist and maybe absurd desire to put an end to classicism by producing monochromes. The artist has reached painting through photography. Expressions such as : « duration », « instantaneousness of light exposure », « image-production », « perpetual development »or « depth of focal fields » are terms that can be used to interpret his work, and they all come from the world of photography. Recalling the archaic photographic techniques of the end of the 19th Century, the technical process used for the production of these silver images seems to involve a certain amount of nostalgia. Even though these painting are produced in an industrial way, Kassay has somehow managed to divert the primary function of photography, but because each painting offers a different formal result, the process is no longer centered on reproduction. By handing his artistic gesture over to an industrial process, creating a distance between his work and the nostalgia that was seemingly implied by the use of an obsolete technique, even the mock-expressionistic texture of the canvas’s surface is evacuated. The artist merely operates a transfer from one medium to the other. The exhibition is built around multiple considerations on illusions created by serial production and the impossibility to operate exact reproductions; defining the loss involved both in the transfer-processes and in any interpretative attempt. As an extension of such visual proposals, a performance and collaborative project between Jacob Kassay and Rhys Chatham will be part of the exhibition.