Many thanks to the Beverly Hills Art Show for using my painting to promote the upcoming show! This piece has sold. Do I need to paint something in magenta now? Hmm.
The art of Teale Hatheway was featured on ABC 7 News! Air date: April 24, 2015.
By Adrienne Alpert
Friday, April 24, 2015
LOS ANGELES (KABC) --
This weekend, the Brewery Arts Complex, a home and workplace for hundreds of artists, is opening its doors to the public for a free art walk.
There are more than 500 artists living and working in the Brewery complex, which spans 23 acres, just west of the Golden State Freeway.
It first opened in 1897 and operated as a Pabst Blue Ribbon brewery for 82 years before becoming an arts complex. Now after three decades, it has been dubbed "The World's Largest Artist Colony," with more artists living and working there than anywhere else.
"We love having that title because it inspires other people around the world to create communities just like ours," painter Kristine Schomaker said.
Twice a year, the artists open their studios to the public for an art show, which features photography, fashions, paintings, architecture, ceramics and sculptures, among other forms of art.
The art walk will be held Saturday and Sunday from 11 a.m. until 6 p.m. The Brewery is located at 2100 N. Main St. #A-10 in downtown Los Angeles. For more information check out the Brewery's website at www.breweryartwalk.com.
Two months ago and 19,000 "hearts" for InTentCity on Instagram. Ha! See more installation images here: http://www.tealhathaway.com/intentcity.html
Thank you Instagram for all your love for InTentCity, my Coachella art installation of 53 hand painted tipis. 27,200 likes and 559 comments? Yow!
Mt tipi installation for Coachella: 1,407 Retweets and 2,658 Favorites.
No to mention 428 notes on Tumbler:
Seems like a success to me!
Published on Nov 4, 2013
Film by Eric Minh Swenson. Produced by Kristine Schomaker. Music by Suzen Juel and the Gardner Chamber Orchestra.
The Brewery Art Complex is pleased to feature some of the most pioneering artists in the Los Angeles area. Located northeast of downtown, off the 5 Freeway at the Main Street exit, sits 18 acres of creative energy, artistic dreams and a little piece of historic LA. (http://www.breweryartwalk.com) Housed in the industrial buildings of the complex is a uniquely vibrant and creative community. Roughly 500 artists live and work at The Brewery and for 30 years, they have opened their studios to the public for a biannual Artwalk.
Resident artists have been experimenting with 3D printing, immersive 3D environments, LED light sculpture, high tech and high class furniture design, contemporary fashion and environmental design, new media, computer and digital art, performance art as well as painting, photography, ceramics, sculpture, glass works, printmaking and street art.
A functional brewery from 1897 through 1979, the Brewery Art Complex began its second life in 1982 when the city of Los Angeles passed the Artist-In-Residence law, a housing code that gave artists the right to rent live/work space in industrially zoned buildings.
In July 1997, the LA Weekly called The Brewery, "the world's largest artist-in-residence community" and in a March 1999 Los Angeles Times article The Brewery was quoted as the "world's largest art complex."
The Brewery Artwalk and open studios is a twice annual event held over a weekend at the world's largest art complex. With over 100 participating resident artists, you will have the opportunity to see new works, discover new favorites, speak with the artists and purchase artwork directly from the artists' studios. The Artwalk takes place in the Spring and Fall, 11:00 am -- 6:00 pm
Admission is free and so is parking. Come and support LA's finest artists, take home some great works and dine at the on-site restaurant. If you have questions or require more information, please contact us via email or mail:
Brewery Art Association c/o i5 Gallery
2100 North Main Street, Unit A10
Los Angeles, CA 90031
For more info on Eric Minh Swenson or project inquiries visit his website: www.thuvanarts.com
ART FILM SERIES: www.thuvanarts.com/take1
TEALE HATHEWAY : ARCHITECTONICA by ERIC MINH SWENSON
Film by Eric Minh Swenson. Music by James Slay
In late 2012, film maker Eric Swenson visited the studio of Teale Hatheway. Over the course of three months, he regularly returned to film the artist in her habitat. He captured the shifting moods, materials and techniques which play mysterious, yet vital roles in Teale’s mixed-media paintings and became her willing urban exploration companion.
More information about Teale Hatheway can be found at: www.TealeHatheway.com
For more info on Eric Minh Swenson or project inquiries visit his website : www.thuvanarts.com
I am a Los Angeles based artist and self-professed historian. One of my frequent subjects is street lights. Why do these common objects figure so prominently in my work? I could give you the historian’s viewpoint: improved economy due to increased hours in the working day, enhanced safety from the common criminal, attraction to and vitality of urban centers… utility as public execution site... But the simple truth of the matter is: object fetishism. I like the old designs.
I originally became attracted to these utilitarian sculptures when I lived in East Hollywood, near the city’s Bureau of Street Lighting utility yard which is piled high with replacement standards and lanterns. Between that home and that yard sits an installation of an assortment of LA street lights know as Vermonica, by artist Sheila Klein. Living in that neighborhood, the subject of lights kind of beats you over the head. I already knew the significance of Los Angeles street lighting because it’s a(n oft overlooked) subject of pride around here. Los Angeles was the first city in the United States with an entirely electric public lighting system1, and with an abundant collection of over 500 light designs in use, many Angelenos can recognize their neighborhoods by the street light alone. But it was only while working on a series of paintings about the LA River bridges that I began to see these lights as a source of creative interest. The lanterns and standards became obvious features, encapsulating the minutia of design for each individual bridge. I began creating the small ink and metal leaf drawings as a way to fill studio time between paintings. The lights are nuggets of highly designed, functional, public engineering whose representations keep my hands busy while my mind processes the more complicated compositions and demanding sub-texts of my larger pieces.
Over time, I started to think more directly about the lights themselves: the way they kept creeping into the picture while I was working on other subjects, subsequent hunts to find them hidden amongst a sea of cobra-headed modernity and translation of their delicate details into simplified, two dimensional forms. To me, the lights became the angels referred to in the name of my city, standing stoically, quietly observing as the generations pass, and shedding light and beauty on their surroundings. They are testaments to the existence of a time when city planning was a perceivable function of intellectuals who believed in the human need for beauty and a certain amount of order.
My process in creating these mixed media drawings also requires a certain order. Atomized black ink spits, spatters and pools over hand-cut stencils to create the darkest shadows of the drawings. The highlights of my subject are added in silver leaf. Between the ink and the metal, I ignite a granulized propellant which flashes and leaves behind a mid-tone of singed browns, crispy metal and a soft residue of white smoke. Finally, a halo of gold leaf completes the process. The layers of materials and techniques used in making these pieces explicate the most significant qualities of the lights themselves. The stencils are a street lexicon, the silver is decorative, the burning signifies the layers of soot, dirt and imperfections the lights accrue as a result of a life on the streets. And the gold halo represents both the warm glow of the lamp as well as the beatific security offered by its presence.
My petit mixed-media drawings of street lights are a way of honoring the gems in the vast jewel box that is the view of the Los Angeles basin on a night approach into LAX. Rows of elegant light standards continue to line streets which were once respectable boulevards or lovely approaches to significant attractions, long since plowed under and forgotten. Compared to my timeless, sexless architectural paintings, these cultural gems appealed to my girly side; my desire to adorn, accessorize and live in refined light (with a little grease under my finger nails, of course). I paint these detailed sculptures because, in all of their influence, they are humble. At their finest they yield a warm glow which casts magic into the evening air and commands a footprint far more significant than their skinny, tall statures would suggest.
Three of my street light drawings can be viewed in the lobby of the Los Angeles Bureau of Street Lighting.
1) Comer, Virginia L. Streetlights. The Urban Details Series. Los Angeles: Balcony Press, 2000.
Living the Dream
For me, being an artist is more than painting alone in my studio. I am inspired by other artists, off-beat adventures and spectacle. I curate exhibitions, collaborate on large public art installations, am an occasional color consultant and interior designer and sometimes I sculpt. I seem to do a lot of writing, but that's just business. I live an art-filled life. Thanks for coming along for the ride.
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