Elizabeth Jaeger (b. 1988 lives and works in Brooklyn, NY) has a continued interest in themes surrounding the domestic sphere and alluding to human presence. While erotically charged, Jaeger’s sculptures also tend to function as memento mori. Jaeger's work focuses on figural representations and their complex relationships, ranging from sculptures based on the artist's own body and personal experiences to a series of alert greyhounds. The artist aims to create spaces that exude a sense of unease, where something unidentifiable has gone wrong and an unspecified narrative remains elusive.  In Jaeger's newest series of anamorphic vases and welded steel, the artist embraces a new sculptural process that omits explicit figurative elements but works phenomenologically to engage the viewer’s awareness of the physicality of their own body. 


Recent solo and two-person exhibitions include Six-Thirty at Jack Hanley Gallery, Elizabeth Jaeger at And Now in Dallas, and Music Stand at Eli Ping, New York. This year the artist participated in Moma PS1's Greater New York, Sculpture Center's In Practice: Fantasy Can Invent Nothing New and Mirror Cells at the Whitney Museum of American Art. Most recently, the artist exhibited in It Started With A Rose at 315 Gallery, New York, Idle Visitation at Plaza Mercado, Santa Fe, Too Much of a Good Thing at Hudson Basilica, Hudson, New York, Summer Reading at Fortnight Institute, New York, as well as Watermark at SIGNAL, New York, Fear of a Blank Pancake at White Flag Projects, St Louis, Weird Science curated by Aniko Berman at Marianne Boesky Gallery, New York, Le Musée Imaginaire at Galerie Lefebvre & Fils, Paris, Close to the Skin curated by Lumi Tan at Company, New York and Dirty Linen at the DESTE Foundation in Athens. The artist has also participated in Elizabeth Jaeger at KINMAN, London, Got Tortilla with Butter on Phone. Think it’s the End? curated by Mikkel Carl at Rod Barton, London and Border Patrol curated by Jesse Greenberg at Loyal in Malmo, Sweden.


Jaeger has exhibited across America and internationally. Published works include Eros C’Est La Vie (Totem, 2013) and How Other People See Me (Publication Studio, 2011). Additionally, Jaeger co-founded and operates Peradam with Sam Cate-Gumpert, a publishing house specializing in artists’ books.


Artforum Review of Jaeger's Exhibition at And Now, Dallas, 2015

New York Times Article on Jaeger's work and Six-Thirty Exhibition at Jack Hanley Gallery, 2014

Art in America Review of Six-Thirty Exhibition at Jack Hanley Gallery, 2014