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Teresita Fernández

PRESS

The Brooklyn Rail

May 1, 2017

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The Art Newspaper

March 4, 2017

News

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

October 5 2016

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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

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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

South China Morning Post

September 26, 2013

Arts Preview: Concept meets reality at Teresita Fernández's exhibition
By Edmund Lee

 

 

The themes of nature, landscape and perception take centre stage in Teresita Fernández's solo exhibition at Lehmann Maupin gallery. The US-based artist is best known for her contemplative approach to materials and her public sculptures such as Seattle Cloud Cover (completed 2006) in the city's Olympic Sculpture Park.


Spanning two white walls, the sculptural installation Epic (2009) is the oldest piece on view, and the work that, says Fernández, "informs all the other works that come after it". An artistic response to the unseen, subterranean part of landscapes, the work consists of thousands of small pieces of graphite, sourced from a mine in Sri Lanka and arranged to form a cloud-like constellation of black, lustrous pebbles.

 

"It's an organic reference to the accumulation of marks, which we often see in nature," she says.


The artist's work in graphite is nearing its conclusion, but her interest in another mined material is only just taking shape. Completed this year, Golden (Panorama) is a triptych - more than 3.5 metres wide - that was the first work in Fernández's Golden series. It was created by applying Indian ink to the gold-chromed panels - then removing part of it to let visual patterns emerge.

 

As a further nod to Fernández's favourite subject of landscape and perception, the line between artwork and viewer is blurred by the golden surface, which reflects the image of the spectator in its negative space. This gives a new twist to the "figure in the landscape" tradition.


"Sometimes my work can look different from one body of work to the next. But conceptually, there's a thread that always runs through it," says Fernández. "It has to do with the sense of how our mind constructs the idea of landscape and of place - both conceptual and physical place."

 

A MacArthur Fellowship recipient in 2005, Fernández's standing in the art world was cemented when, in 2011, she was appointed a member of the US Commission of Fine Arts by President Barack Obama. Fernández is now working on a major solo showcase for the Massachusetts Museum of Contemporary Art, one of the largest art museums in the US, due in May 2014.


For the year-long exhibition, Fernández says she'll be adding "much, much bigger" new works to her Golden series. "I'm interested in the very large and the very small," she says.

 

"If you think about it, there is no miniature in nature: everything in nature is the size that it needs to be. I'm not so interested in medium size. I'm very interested in how the vast landscape can be contained in the very small and intimate [pieces]."