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Elias Hansen ELIAS HANSEN BIOGRAPHY Born in 1979, Indianola, WA He lives and works in Ancram, NY EDUCATION New Orleans School of Glass and Print, New Orleans, LA, 2001 Larson Red Angus Ranch, Big Timber, MT, 2001 Whitman College, Walla Walla, WA, 1997-2001 SOLO EXHIBITIONS 2016 I Thought I Had A Dog In This Fight, But It Ain’t Seem Like It Now, Jeffrey Stark, New York, NY An open door to an empty room, Take Ninagawa, Tokyo, Japan 2014 You can cry all you want, but it ain’t changing shit, Jonathan Viner Gallery, London, UK I’m a long way from home, and I don’t really know these roads, Anat Egbi, Los Angeles, CA 2013 Hansen Brothers Furniture, Maccarone, New York, NY 2012 Should be fine, Maccarone, New York, NY We’re just in it for the money (w/ Oscar Tuazon), Balice hertling, Paris, France 2011 You know we’re nowhere near there, right?, Jonathan Viner, London, UK Next time, they’ll know it’s us, The Company, Los Angeles, CA It wasn’t until I found it later, Fireplace Project, Hamptons, NY Frieze Frame, London, UK 2010 This is the Last Place I Could Hide, Maccarone Gallery, New York, NY We Used To Get So High, Lawrimore Project, Seattle, WA Predicting the Present, The Company, Los Angeles, CA It Was One of My Best Comes (with Oscar Tuazon), Parc St. Leger Center of Contemporary Art, Pougues- les-Eaux, France 2009 Truths We Forgot to Lie About (with Joey Piecuch), The Helm Gallery, Tacoma, WA 2008 Kodiak I, Seattle Art Museum (with Oscar Tuazon), Seattle, WA Howard House Contemporary Art (with Oscar Tuazon), Seattle, WA 2007 VOluntary Non vUlnerable; Bodgers and Kludgers Cooperative Art Parlour, Vancouver, BC The Things We Carry, Tacoma Glassblowing Studio, Tacoma, WA 2004 Hearts, Teeth, Vaginas; Hand to Mouth, Bellingham, WA GROUP EXHIBITIONS 2017 The Wrong Way Home, Arthur Roger Gallery, New Orleans, LA 2014 Oh Brother, Maccarone Gallery, New York, NY Yokohama Triennale, Yokohama, Japan Slippery, Martos Gallery, New York, NY Another, Once Again, Many Times More, Martos Gallery, East Marion, NY Refraction: The Image of Sense, Blain|Southern, London 2013 Tone Poem, Halsey McKay, East Hampton, NY The Glass Show, Jonathan Viner, London, UK 2012 La Demeure Joyeuse II, Francesca Pia, Zurich Heart to Hand, Swiss Institute, New York, NY He Is Transparent, Renwick Gallery, New York, NY Ain’t quite right, EH & The Reader, APALAZZOGALLERY, Brescia, Italy We barely made it, Anat Egby, Los Angeles, CA 2011 Les Statues Meurent Aussi, Suzy Shamma, Milan, Italy Group Show, APALAZZOGALLERY, Brescia, Italy The Medicine Bag, Maccarone, New York, NY 2010 New Years Project, Western Bridge, Seattle, WA Dynasty, Palais De Tokyo, Paris, France Shadow, The Company, Los Angeles, CA 2009 Wood, curated by Ellen Langan, Maccarone, New York, NY Spite House, curated by Yoko Ott & Jessica Powers, Lawrimore Project, Seattle, WA Suddenly: Where We Live Now, 312 Occidental, Seattle, WA Looking Forward, Traver Gallery, Tacoma, WA Suddenly: Where We Live Now, Pomona College Museum of Art, Pomona, CA 2008 The Station, curated by Shamim Momin and Nate Lowman, Midblock East, Miami, FL Sack of Bones, Peres Projects – Chinatown, Los Angeles, CA Suddenly: Where We Live Now, Cooley Gallery, Reed College, Portland, OR You Complete Me, Western Bridge, Seattle, WA Aqua Art Fair, Miami, FL 2006 Culture of Fear, Halle 14, Leipzig/ ACC Galerie, Weimar 2004 Western Washington University Contemporary Art Gallery, Bellingham, WA LECTURES 2008 "Why should I be serious about glass if I'm serious about art?", Panel discussion with Doug Heller, Linda Greene, Jutta Page. Arkansas Art Center, Little Rock, AR "The Built Environment", Slide lecture with Jenene Nagy, Thom Heileson, Adam Satushek, Crawlspace, Seattle, WA RESIDENCIES 2008 Museum of Glass, Tacoma, WA 2007 Museum of Glass, Tacoma, WA COLLECTIONS Seattle Art Museum, Seattle Saatchi Collection, London Jumex Collection, Colonia Granada Fondazione Giuliani, Roma PRESS Contemporary Art Daily's slideshow of "Should be fine" Karen Rosenberg reviews "Heart to Hand" in the NY Times Kevin McGarry mentions "Free Wood" in T Magazine article about Pati Hertling Leah Ollman reviews "We barely made it" with The Reader in the LA times Los Angeles I'm Yours blogs about "We barely made it" with The Reader Jenni Lomax picks her favorite from Frieze for The Art Newspaper Jessica Powers reviews "Use it for what it's used for" at Western Bridge Rosalie Doubal reviews "You know we're nowhere near there, right?" for Timeout London Andrew Berardini reviews "Next time, they'll know it's us" for ArtReview Joanna Fiduccia reviews "Next time, they'll know it's us" for Art Agenda Sarah Lerher-Graiwer reviews "Next time, they'll know it's us" for ArtSlant Leah Ollman reviews "Next time, they'll know it's us" for LA Times Michael Wilson reviews "This is the last place I could hide" for Artforum Seattle Art Museum PONCHO Special Recognition Award Art in America: Decoding Images Tamsen Greene reviews "This is the last place I could hide" on artinfo Drew Martin reviews "This is the last place I could hide" Dan Cameron reviews Seattle on Art iT Seattleglassonline reviews "We Used To Get So High" Regina Hackett in Artsjournal Jen Graves reviews "We Used To Get So High" in The Stranger Jessica Powers reviews "We Used To Get So High" in Artslant Stephanie Snyder reviews "We Used To Get So High" in Artforum Catherine Taft suggests "Predicting the Present" on Saatchi Online Daily Serving reviews "Predicting the Present" Home Los Angeles reviews "Predicting the Present" Michael Darling's write up on ParisLA New York Times reviews "Lentspace" Jen Graves reviews "Spite House" Seattle Weekly reviews "Spite House" Regina Hackett reviews "Spite House" Jen Graves reviews "Suddenly: Where We Live Now" Tacoma Weekly reviews Traver Gallery "Looking Forward" Regina Hackett reviews "Truths We Forgot to Lie About" on Another Bouncing Ball Jen Graves reviews "Truths We Forgot to Lie About" in The Stranger Daniel Blue Reviews "Truths We Forgot to Lie About" in Exit 133 Regina Hackett's "Forging Tacoma" The Stranger Art Slog: Truths We Forgot To Lie About Afterall reviews "Suddenly: Where We Live Now" at Pomona College Vera Neykov's mention in ARTslant John Motley's review in The Portland Mercury Shiela Farr's review in the Seattle Times Jen Graves review in The Stranger Seattle Art Museum's short video about Kodiak Regina Hackett's review in The Seattle P.I. Regina Hackett's review of "You Complete Me" in The Seattle P.I. Rosemary Ponnekanti's review in the Tacoma News Tribune .
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  • Maccarone Is Pleased to Announce an Exhibition of New Works by Eli Hansen
    Maccarone is pleased to announce an exhibition of new works by Eli Hansen. Displaying a laboratory of hand-blown glass, CFL and LED light bulbs, plastic and chopped wood locally sourced from the artist's surroundings in Upstate New York, Hansen crafts a narrative of regionalism, subterranean laboratories, the idiosyncrasy of hand and the spectral presence of a storyteller. These ethereal components congregate in the dimly lit gallery space, simulating an environment of codependence. In the penumbral light exists the murky sensation that a protagonist has been there, abandoning the audience to contemplate who will stop the chemistry set from bubbling over, or pick up the shards of a shattered beaker. In both wall pieces and freestanding sculpture, irregularities emerge from glass blown so precisely it could be mistaken as mass- produced. Hansen effectively abstracts the ready-made; though functional, it is in the surfaces' subtle warps that the hand of the artist is revealed. The objects' inconsistencies force the viewer to reconsider Hansen's process, submitting to an immersive experience where the irregularities seem as confident and unhinged as a hallucinatory vision. Coupled with rough-hewn objects of refuse, Hansen seeks to complicate the division between the clean and the gritty. From found objects and scrap bits emerges an aesthetic of need. The do-it- yourself ethos underscores the artist's commitment to the handmade and a vernacular of the basement laboratory. Hansen's tables of scavenged wood form a stage upon which interloped glass characters tell us a story. Proof of the human comes into play with the vessels' anthropomorphic forms replete with cinched waits, potbellies and slender necks.
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  • Elias Hansen
    ELIAS HANSEN Born in 1979, Washington, USA Lives and works in Vashon, Washington SOLO EXHIBITIONS 2018 Blue Projects: Elias Hansen, Blue Mountain School, London, UK 2017 Elias Hansen, Team Gallery, Los Angeles Elias Hansen, Anat Ebgi, Los Angeles, CA Elias Hansen, Halsey McKay, New York, NY Elias Hansen, Simon Cooper Cole, Toronto, Canada The wrong way home. Eli Hansen and The Reader, Arthur Roger Gallery, New Orleans, LA 2016 I Thought I Had A Dog In This Fight, But It Ain't Seem Like It Now, Jeffrey Stark, New York, NY An open door to an empty room. Take Ninagawa, Tokyo, Japan 2014 Oh Brother, Eli Hansen and Oscar Tuazon, Maccarone, New York, NY You Can Cry All You Want, But It Ain’t Changing Shit. Jonathan Viner, London, United Kingdom I'm a long way from home and I don't really know these roads, Anat Egbi, Los Angeles, CA 2012 Should be fine, Maccarone, New York, NY We’re just in it for the money (with Oscar Tuazon), Balice Hertling, Paris Heart to Hand (with Oscar Tuazon), Swiss Institute, New York, NY Ain’t quite right with the Reader, A Palazzo, Brescia 2011 You know we’re nowhere near there, right?, Jonathan Viner Gallery, London Next time, they’ll know it’s us, The Company, Los Angeles, CA It wasn’t until I found it later, The Fireplace Project, Hamptons, NY 2010 This is the Last Place I Could Hide, Maccarone, New York, NY We Used To Get So High, Lawrimore Project, Seattle, WA WWW.SAATCHIGALLERY.COM ELIAS HANSEN It Was One of My Best Comes (with Oscar Tuazon), Parc Saint Leger, Pougues Les Eaux, France Predicting the Present,
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  • Biography Elias Hansen
    Biography 2007 “VOluntary Non vUlnerable,” Bodgers and Kludgers Cooperative Art Parlour, Vancouver 2004 Western Washington University Contemporary Art Gallery, Bellingham “The Things We Carry;” Tacoma Glassblowing Studio, Tacoma 2004 “Hearts, Teeth,” Vaginas; Hand to Mouth Gallery, Bellingham Lectures 2015 “Elias Hansen at the Wassaic Project,” Wassaic Project, Wassaic Selected Group Exhibitions “Artist Lecture: Elias Hansen,” Urban Glass, Brooklyn Elias Hansen 2018 “10th Anniversary,” Take Ninagawa, Tokyo 2014 Middle Tennessee University, Murfreesboro 2016 “November’s Bone,” Halsey McKay, East Hampton, New York 2013 Ball State University, Muncie Born in 1979, Washington, USA “The New Classics: In Glass,” Islip Art Museum, East Islip, New York 2010 “We Used To Get So High,” Lecture and discussion with Scott Lawrimore, Seattle Lives and works in upstate New York 2015 “DEEP END,” Wassaic Project, New York 2008 “Why should I be serious about glass if I'm serious about art?,” Arkansas Art Center, Little Rock, Arkansas “To blow smoke in order to heal,” Albert Baronian,” Brussels (Panel discussion with Doug Heller, Linda Greene, Jutta Page) 2001 New Orleans School of Glass and Print, New Orleans, LA “CLUB OF MATINEE IDOLZ,” CO2 Gallery, Torino “The Built Environment,” Slide lecture with Jenene Nagy, Thom Heileson, Adam Satushek, Crawlspace, Seattle Larson Red Angus Ranch, Big Timber, MT “Milk Revolution,” American Academy, Rome 1997-01 Whitman College, Walla Walla, WA 2014 “Another, Once Again, Many Times More,” Martos Gallery, East Marion,
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    Oscar Tuazon Biography Born in 1975 in Seattle, Washington, USA. EDUCATION 2002-2003 Program/Cooper Union School of Architecture, Architecture/Urban Studies Progeam, New York, U.S.A. 2001-2003 Whitney Museum of American Art Independent Study Program, Studio Program, New York, U.S.A. 1995-1999 Cooper Union for the Advancement of Science and Art, New York, Etats-Unis. SOLO EXHIBITIONS (SELECTION) 2021 L'Ecole de l'eau, Paris, France. 2021 Luhring Augustine, New York, Etats-Unis. 2019 Dependance, Brussels, Belgium. Standard, Oslo, Norway. Collaborator, Bellevue Arts Museum, Bellevue, U.S.A. Water School, Michigan State University, East Lansing, U.S.A. 2018 Oscar Tuazon, Luhring Augustine, New York, U.S.A. 10 RUE CHARLOT, 75003 PARIS +33 1 42 77 38 87 | CROUSEL.COM [email protected] 2017 Une colonne d’eau, FIAC Hors les murs, Place Vendôme, Paris, France. See Through, Galerie Eva Presenhuber, Zurich, Switzerland. Building Fire, Documenta 14, Radio Athènes, Athens, Greece. 2016 Un Pont, Nouveaux Commanditaires - Fondation de France, Belfort, France. Zome Alloy, Art Basel|Messeplatz, Switzerland. Public Space, with Ariana Reines, Modern Art Gallery, London, U.K. General Contractor, dépendance, Brussels, Belgium. Shelters, Galerie Chantal Crousel, Paris, France. Hammer Project: Oscar Tuazon, Hammer Museum, Los Angeles, U.S.A. 2015 Break the Glass, Kastro, Antiparos, Greece. Oscar Tuazon, T-Space, Rhinebeck, New York, U.S.A. This Won't Take Long, Paradise Garage, Los Angeles, U.S.A. Studio, Le Consortium, Dijon, France. 2014 Oh Brother, with Eli Hansen, Maccarone, New York, U.S.A. Partners (Platform 15), deCordova Sculpture Park, Lincoln, U.S.A.
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  • OSCAR TUAZON Born 1975, Seattle, WA Lives and Works in Los Angeles, CA
    OSCAR TUAZON Born 1975, Seattle, WA Lives and works in Los Angeles, CA EDUCATION 2003, Whitney Museum of American Art Independent Study Program, Architecture/Urban Studies Program, New York, NY 2003, Cooper Union School of Architecture, Architecture/Urban Studies Program, New York, NY 2002, Whitney Museum of American Art Independent Study, Studio Program, New York, NY 1995–1999, Cooper Union for the Advancement of Science and Art, New York, NY 1994, Deep Springs College, Big Pine, CA SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Oscar Tuazon, Galerie Chantal Crousel, Paris, France Oscar Tuazon: PEOPLE, Luhring Augustine Tribeca, New York, NY 2019-2020 Oscar Tuazon: Fire Worship, Aspen Art Museum, Aspen, CO 2019 Growth Rings, Central Wharf Park, Boston, MA [temporary outdoor installation] Oscar Hansen, Standard (Oslo), Oslo, Norway Oscar Tuazon: Bonfire, Dépendence, Brussels, Belgium Oscar Tuazon: Collaborator, Bellevue Arts Museum, Bellevue, WA Oscar Tuazon: Water School, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, MI* 2018 Oscar Tuazon, Luhring Augustine, New York, NY Oscar Tuazon, Maureen Paley, London, England 2017 Building Fire, Radio Athènes, Athens, Greece Gardar Eide Einarsson and Oscar Tuazon, Maureen Paley, London, England See Through, Galerie Eva Presenhuber, Zurich, Switzerland Une colonne d’eau, FIAC Hors les Murs, Place Vendôme, Paris, France 2016 Ariana Reines and Oscar Tuazon: Pubic Space, Stuart Shave/Modern Art, London, England General Contractor, dépendance, Brussels, Belgium Oscar Tuazon:
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  • Eli Hansen “Should Be Fine” Maccarone 630 Greenwich St
    For Immediate Release: Eli Hansen “Should be fine” Maccarone 630 Greenwich St. New York, NY 10014 March 30 – April 28, 2012 Opening reception: Friday, March 30 from 6:00-8:00 PM Gallery hours: Tues-Sat, 10-6 PM Maccarone is pleased to announce an exhibition of new works by Eli Hansen. Displaying a laboratory of hand-blown glass, CFL and LED light bulbs, plastic and chopped wood locally sourced from the artist’s surroundings in Upstate New York, Hansen crafts a narrative of regionalism, subterranean laboratories, the idiosyncrasy of hand and the spectral presence of a storyteller. These ethereal components congregate in the dimly lit gallery space, simulating an environment of codependence. In the penumbral light exists the murky sensation that a protagonist has been there, abandoning the audience to contemplate who will stop the chemistry set from bubbling over, or pick up the shards of a shattered beaker. In both wall pieces and freestanding sculpture, irregularities emerge from glass blown so precisely it could be mistaken as mass- produced. Hansen effectively abstracts the ready-made; though functional, it is in the surfaces’ subtle warps that the hand of the artist is revealed. The objects’ inconsistencies force the viewer to reconsider Hansen’s process, submitting to an immersive experience where the irregularities seem as confident and unhinged as a hallucinatory vision. Coupled with rough-hewn objects of refuse, Hansen seeks to complicate the division between the clean and the gritty. From found objects and scrap bits emerges an aesthetic of need. The do-it-yourself ethos underscores the artist’s commitment to the handmade and a vernacular of the basement laboratory.
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