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Teresita Fernández

PRESS

The Brooklyn Rail

May 1, 2017

PRESS

The Art Newspaper

March 4, 2017

News

The future of the arts is Latinx: Q&A with artist Teresita Fernandez

October 5 2016

PRESS

Art21

September 24, 2016

News

Discovering the World From Nature's Many Perspectives Hyperallergic

December 31 2015

News

Women in Art: Teresita Fernández

November 30 2015

News

At Grace Farms, Encountering Art at Every Bend New York Times

November 28 2015

News

Interview with Sculptor Teresita Fernández Aesthetica Magazine

November 24 2015

News

Sculpting the Public: Teresita Fernández Wants You In Her Work Modern Painters

October 31 2015

News

Grace Farms Draws Praise Stamford Advocate

October 19 2015

News

The Spiritual and Spectacular Meet at an Ultramodern Community Center in Connecticut New York Times

October 16 2015

News

Poetry Under Fata Morgana Organized by Teresita Fernández and Emanuel Xavier

September 17 2015

PRESS

ArtNexus Teresita Fernández. Fata Morgana.

August 11, 2015

PRESS

Arte al Dia International

June 2015

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Cultured Magazine

April 18, 2015

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WSJ Artist Teresita Fernández Transforms New York’s Madison Square Park

March 31, 2015

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Departures Magazine Artist of the Moment: Teresita Fernández

January 9, 2015

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Gothamist Massive 500-Foot-Long Canopy Coming To Madison Square Park

November 11, 2014

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New York Times

November 6, 2014

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Modern Art Notes Podcast

August 18, 2014

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W Magazine

July 17, 2014

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The Brooklyn Rail

July/August 2014

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Sculpture

November 2013

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Art Bahrain

Fall 2013 - Winter 2014

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Architectural Digest

October 2013

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Modern Painters

October 2013

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South China Morning Post

September 26, 2013

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Whitewall

February 1, 2013

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W Magazine

October 2012

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The Wall Street Journal

September 14, 2012

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Artinfo

September 12, 2012

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Bloomberg

September 5, 2012

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Whitewall

November 30, 2011

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W Magazine

November 30, 2011

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The New York Observer

September 19, 2011

News

White House Appoints Artist Teresita Fernandez to the U.S. Commission of Fine Arts

September 2011

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Art in Asia

August 31, 2011

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Artdaily

May 26, 2011

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artdaily

January 31, 2011

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Artinfo

November 16, 2010

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Financial Times

April 9, 2010

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Bob Magazine Issue 67

February 28, 2010

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Artforum

February 28, 2010

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Art Lies

February 28, 2010

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Monocle

October 31, 2009

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Anne Stringfield Interview

October 31, 2009

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David Norr Essay

October 31, 2009

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Dave Hickey Essay

October 31, 2009

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Annette DiMeo Carlozzi Essay

October 31, 2009

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The Business Times

September 19, 2009

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Artforum

August 31, 2009

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St. Petersburg Times

August 23, 2009

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Dallas Morning News

August 8, 2009

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...might be good

February 6, 2009

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Blackbird

August 31, 2008

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Vogue

April 1, 2007

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Tema Celeste

October 22, 2005

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USA Today

September 20, 2005

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ArtNexus

June 1, 2005

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ArtReview

April 1, 2005

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Art + Auction

March 1, 2005

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Art in America

November 1, 2003

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Art in America

March 1, 2003

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Art in America

December 1, 2001

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ARTnews

September 1, 2001

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New York Times

March 21, 1999

Bloomberg


 

MacArthur Genius Turns to Stars for Cosmic Aid: Hot Art

Teresita Fernandez spent the last two weeks of August at Lehmann Maupin gallery’s Lower East Side outpost, surrounded by thousands of translucent plastic tubes in shades of gray and pink.

 

By the end of the month, a lot of the tubes had migrated from cardboard boxes into midair. They hang in two layers from the 26-foot ceiling, suspended on barely visible strings.

 

The untitled composition reveals itself as you move through the space. Looking up, the irregular form resembles the sky after a thunderstorm, deep gray giving way to soft pink. The shape ebbs and dips like a rolling terrain.

 

Viewed from a second-floor balcony, it suggests a body of water, the 8-foot-long tubes blending into a flat, shimmering surface, occupying most of the 22-by-42-foot room. People walking beneath it appear in silhouette, slightly distorted and almost rippled. The effect changes, depending on the time of day, the light and your particular vantage point.

 

It’s at once monumental and fragile. Hanging it was a surprisingly low-tech effort: a hydraulic lift, a few ladders and a paper diagram on the floor suggesting where the different parts should go.

 

Optical Shifts


“There are all these optical shifts,” said Fernandez, 44, a conceptual artist born in Miami and now living in Brooklyn. Installing it, she said, was its own challenge, “because you don’t know where one piece ends and another begins.”

 

The goal of the piece is to “transcend the material so that it’s no longer a bunch of plastic,” added Fernandez, a 2005 MacArthur Foundation fellow and a member of the U.S. Commission of Fine Arts.

 

It’s the centerpiece of “Night Writing,” an exhibition of her work that opens Sept. 12. The show will also include hand- made prints in which swirls and bands of pink and magenta are perforated with mirror-filled holes that sparkle like stars.

 

“I was interested in the idea of the night sky,” said Fernandez. “Before we had GPS, what we did was look up at the stars as a way to get an orientation.”

 

Except that in this case, the works -- displayed behind glass in hefty frames -- are also unsettling. The little glittering holes are Braille translations of epic texts of Fernandez’s choosing (among them, “Tristan and Isolde” and “Hero and Leander”).

 

“It’s almost like there’s something very revealing hiding in plain sight,” she said after a pause. “If you are blind you can’t touch it. If you have sight you can’t read it.”

 

Prices for the prints range from $50,000 to $100,000. “Night Writing” will run through Oct. 20 at 201 Chrystie St. Information: +1-212-254-0054; http://www.lehmannmaupin.com.