Hatheway Curatorial is pleased to present Shira Loa’s hand wrought metal works, born of the artist’s dedication to create visual language from her reverence for growth, change, and the wisdom of Nature’s structures. Loa cultivates her developing relationship with materials and technique, which manifests itself in a trichotomy of improbably-delicate forms, vibrant colors and cold, hard materials and surfaces. “One can never reach the end of learning; there is always room to gain something new in the conversation,” says Loa whose evolving interpretations of nature and technical applications result in contained universes of surrealist intensity.
Born in Amherst, MA, Loa attended Massachusetts College of Art in Boston, Umass Amherst, and received her BFA from the University of Michigan. She did post-graduate apprenticeships with master metalsmiths across the country, including Greg Wilbur and Benjamin Neubauer, and received her Jewelry Technician Certificate from Revere Academy of Jewelry Arts in San Francisco. Loa currently lives in Los Angeles, and has a studio at the Big Art Labs in downtown LA.
Hatheway Curatorial is pleased to feature Ashley Bravin's paintings of boxers at the Los Angeles Athletic Clubs annual collegiate boxing event: Rivals in the Ring.
Boxing at the Los Angeles Athletic Club has been around since the club was founded back in 1880. The first LAAC champion boxer, Sam Dewey, was one of the founding members directly involved with naming the club. Keeping the tradition going was Richard “Duke” Llewellyn, who was also a respected fighter in his day having fought the legendary Joe Louis in an exhibition match.
Maintaining the boxing tradition today, The Los Angeles Athletic Club and Espada Boxing are once again teaming up for The L.A. Collegiate Boxing Invitational. Fights will include battles between USC, UCLA, Cal Berkeley, University of San Francisco, Cal State University of Northridge, UC Davis, CSU Los Angeles and University of Washington. There will be more than eight bouts with each bout going a maximum of three rounds. The main event will be USC vs UCLA. USC is leading 3-1 in the four previous years of this cross-town battle.
Join the Los Angeles Athletic Club and Espada Boxing for a night of food, fisticuffs and fun as we present “Rivals in the Ring”, The Los Angeles Collegiate Boxing Invitational.
Rivals in the Ring is a black-tie optional event featuring dining, whiskey tastings and a good old-fashioned collegiate boxing rivalry (USC vs. UCLA).
Three levels of seating are available for this event. Exclusive Balcony VIP seating includes a special whiskey tasting with complimentary wine and beer, VIP Ringside seating reserves premium seats for groups of four or more, and General Admission seating provides an opportunity to enjoy all the action.
All tickets include lavish hors d’oeuvres, pre-fight buffet and post-fight dessert. Cigars will be available throughout the night to enjoy on the club’s outdoor rooftop with breathtaking views of downtown. Relive an era at our historic club where boxing was the centerpiece of an exclusive night of socializing.
Hatheway Curatorial is pleased to present an exhibition of works by Jennifer Gunlock. In her words:
My work demonstrates a fascination with the relationships between things of nature and those of human imposition. With the layering of photographic imagery I have collected on my travels, I construct tree-based figures whose bodies are awkwardly fused with metal gates, antennas, and other architectural motifs.
Each of these tree-forms is an ancient, sentient thing whose lifespan evokes the rise of fall of civilizations and the forests they occupied. A people enters a forest, clears it, and builds upon it. The village grows into a mighty city, perhaps an empire, and eventually, inevitably, the people abandons its city, and the civilization dies. As their great monuments crumble into ruin, the forest slowly encroaches and reclaims its right for dominance. The ancient trees and ruin bump up and press against each other, causing tension and ultimately fusion. The result is a forest of hybrid beings comprised of metal, stone and branch.
Two major themes pervade this body of work. One is the imposition of civilization and technology onto nature and nature’s determination to thrive in spite of that imposition. What ends up happening is this push/pull relationship between the two elements and their fight for dominance. Another theme occurring is that these “sleeping” trees are actively communicating, using human invented implements that were nailed/impaled/welded onto them. Motifs of camouflaged cell phone towers and TV antennas are evident, which speak of invisible transmission of information. These trees are both listening and broadcasting without any human’s awareness of this ongoing activity.
Hatheway Curatorial is pleased to present:
Annie Terrazzo has a lot to say about contemporary femininity. By combining provocative portraiture and matter-of-fact text ripped from the pages of newspapers and magazines, Terrazzo weaves original stories about characters, told through fragments of the fabricated, but seemingly collective, voice. The works themselves feel current: deconstructed, dirty, slick and pretty, but ultimately, Terrazzo’s stories are timeless and her powerful characters are classic. Her female still gazes back at the viewer. Her female is still in control of her sexuality. Her female is still unmoved by the constraints and definitions placed upon her by her enveloping culture. Annie Terrazzo’s female is the contemporary feminist’s ideal.
May 24 – July 26, 2014
Titles - left to right:
Hatheway Curatorial is pleased to present paintings by Catherine Kaleel. The works will be on view April 5 – May 23, 2014.
Catherine Kaleel collects collectors. Participating in their linear intention to seek, locate, acquire and catalog objects of desire, Kaleel hunts for collectors with whom she will share connections to their objects through her painting practice. The completion of each painting enriches the cataloging process. Many strangers met through online research and some friends of friends of friends have generously opened their doors to the artist and shared their personal histories and enthusiasm for their chosen object’s beauty, function and character.
The subjects of Kaleel’s paintings range from motor bikes to cassette tapes to old film cameras, but the power of the work lies beyond simple nostalgia. In a world of transient consumption, rampant surveillance, choking laws and digital information overload, Kaleel is making real connections with both people and well made, tangible objects associated with freedom and fun. Her paintings are indicative of the frustrations of a generation which is disenchanted with the propped-up promises of the American Dream. They seek connections to the world they were promised and escape from their fear of the future they face. For many, contemporary collecting is a statement about a quality of life rather than monetary value. Kaleel has visually captured the voices, the concerns and the hopes of a large segment of contemporary society.
The result of Kaleel’s process of research and contact is a growing series of large still lifes masterfully rendered in oil paint on wood panel, exhibiting skillful brush strokes and color interpretations. During this exhibition, Catherine will be in Munich, Germany as an official "Live Painter" for the Stroke Art Fair April 29th-May 4th and represented by the Von Pirpenstein Project.
Private Performance: March 24 – March 29, 2014
Reception: Thursday, April 3, 6-9 pm
Coagula Curatorial and Teale Hatheway are pleased to present Tim Youd’s critically acclaimed undertaking to retype 100 classic novels including Raymond Chandler’s “The Lady in the Lake” at The Los Angeles Athletic Club.
Youd retypes each of his chosen novels on a single sheet of paper, on the same model typewriter used by the author and in a location germane to the novel itself. Youd will be retyping “The Lady in the Lake” in a private performance at the historic Athletic Club where Raymond Chandler met James Oviatt who served as the model for Chandler’s unsavory character of Derace Kingsley.
Please join us on April 3, from 6-9 pm, on the third floor of the Los Angeles Athletic Club for an exclusive one-night-only exhibition of selected works by the artist and to witness Youd’s performance finale as he completes “Lady in the Lake.”
Youd’s Chandler Cycle will culminate in a solo show at the Museum of Contemporary Arts San Diego in La Jolla May 16 through August 31, 2014.
Los Angeles Athletic Club was established in 1880 and, stands as Los Angeles' oldest private club. For over 125 years, it has remained dedicated to its mission of providing for the body, mind and spirit of its members. The Los Angeles Athletic Club was recently selected as one of the best private clubs in America, receiving Platinum Club of America status.
The Los Angeles Athletic Club is located at: 431 West Seventh Street, Los Angeles, California 90014.
Parking is available just north of the club at: 646 South Olive Street, Los Angeles, California 90014.
Parking validation available with food or drink purchase.
Business casual attire requested.
Hatheway Curatorial is pleased to present ICON, a group exhibition featuring works by Kimberly Zsebe, Kevin Rolly, Ted Meyer and Anna Stump. The works included in this show represent an assortment of reactions to biblical themes. Please join us for the opening on Wednesday, March 20th from 8 – 10 pm.
“Sexy Jesus” is a series of oil on canvas portraits of actors who have portrayed Jesus in popular media. Stump’s intention is to explore how the image of Jesus is marketed to young people in a confused projection of religious and carnal love. Stump is also fascinated that the image of Jesus has changed so little over the centuries, and by how Christianity uses portraiture to manipulate religious doctrine, compared to the absence of such imagery in the other monotheistic religions. The power of a painting of Christ continues to resonate, due in part to the rich history of religious art-making, and to the inability of a photograph to encompass our feelings about who Jesus was and is.
Kevin Rolly, a Los Angeles artist and Brewery resident, presents his evocative and deeply moving works based upon often untold Old Testament stories. His works, which he calls "Oilgraphs," are a painstaking mixed-media technique which blends traditional film and dark-room prints with oil paint and other media. The works are immediately arresting for their honesty, attesting to his theatrical skill in casting, costuming and staging all of the scenes in his studio. Rolly says of his subject matter, "Regardless of whether people believe the stories to be true or not, they reveal our broken human story intersecting with the divine and supernatural. They are us, and maybe more now than ever before."
During the last election, Ted suffered through interview after interview of people claiming that they, as Bible readers and true believers, were morally superior to "godless liberals and atheists." So Ted read some of those Bible stories and thought he would illustrate a few of the more questionable passages. Turns out ancients had some pretty violent and kinky tendencies.
Zsebe’s Icon work combines her love of philosophical questioning and her dedication to traditional methods of painting. Fun and provocative, familiar yet fresh, these paintings lead the viewer into a dialogue that compares the sanctity of religion to our modern day consumerism.
Hatheway Curatorial is a series of rotating exhibitions taking place at Barbara’s, the restaurant/bar hidden in the heart of the Brewery Arts Complex. The Brewery is considered the world’s largest live-work arts complex with an estimated 500 resident and day-use artists representing every field of creation. Barbara’s provides a welcoming environment for artists, art lovers, musicians, writers and business people to meet, exchange ideas and cut a little loose. As a curatorial project, Barbara West at the Brewery provides a forum for resident and non-resident artists who are actively pursuing creative development. Additional information about Hatheway Curatorial can be found by visiting us on ArtSlant.com.
Hatheway Curatorial is pleased to present a high-contrast selection of gender charged paintings by Charles Swenson. These paintings represent two branches of Swenson’s art interest - his wife’s shoes and a set of toy soldiers.
“My wife’s shoes, all women’s shoes, have a wonderfully decadent, fetish-y quality that I love, especially the high-heeled variety, they look dangerous and delicious at the same time,” explains Swenson. These particular paintings of shoes are lyrical. The viewer is uncertain whether the shoes are floating, falling or flying, but they make Swenson, and indeed the rest of us shoe-lovers, smile. They are delightful: feminine, joyous, new and shiny (and useful to boot!).
By comparison, the soldiers represent an opposing point of view. Painted from a set of actual toys, they are bought on-line, photographed and then represented much larger than life sized. “They are masculine, guy toys, war toys, stoic and sad, used and abused… They hold a consciousness that is all these things and also a little comic at the same time,” says Swenson, who has made them heroic, as though they were portraits of real men. Ultimately, these toys say something about war: the physical, mental, emotional, and spiritual toll that fighting with guns and killing has on every soldier.
This is the first time the two series have been exhibited in the same space and as Swenson observes, “Male and female, masculine and feminine, this is the push-pull of society, this is the tension that I try to get to. This is what makes the world turn, and it makes it worth hanging around, just to watch the dance.” But the friction in these paintings runs deeper than gender. Perfunctory shoes become celebratory confetti and children’s toys become solemn icons of an uncertain future. It is a dance to be certain, but exactly who leads is anyone’s guess.
Hatheway Curatorial is pleased to present “Apparatus” a selection of recent works by Ching Ching Cheng. The show will be on view at Barbara’s at the Brewery from June 9 through August 4, 2012.
Cheng has been interested in science and engineering since she was little. Every summer break during junior high school she would visit and help out at her father’s factory in Taiwan. Hanging out at the factory is one of her fondest childhood memories. Cheng found that she couldn’t stop watching and trying to figure out how the giant mechanical factory devices worked. Every part of each machine connected to another massive machine, moving and working smoothly together, just like a human body.
While studying the human form in school, Cheng came see it as an incredible machine. Similar to the wonder that her father’s machines made her feel as a child, the body came to fascinate her. Specific parts of the human form such as organs, the brain, and the way bodies perceive the world around them became the focus of her work.
In Cheng’s world, the brain is a cognitive camera, and each blink of the eye captures a fragment of a memory. Old books carry with them a history of not only the information within them but also the trajectory of where the book has been. By gluing each page of a book together in order to form a carvable foundation for her sculptures, Cheng has secured the memories collected in the history of the book. Similarly, Cheng’s paintings of car engines are organic representations of blood vessels, fluids and movements, blurring the line between man and machine.
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.