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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

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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

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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

Art in America


Teresita Fernández at Miami Art Museum
BY PAULA HARPER

In her installation last season at MAM, Teresita Fernández continued her minimalist reveries on the art and idea of landscape. Over the past several years she has exhibited frequently in the U.S. and abroad; her recent pieces tend to evoke the elements of light, shadow, water, clouds and foliage, and their ordering in space, which have enchanted gardeners and painters for centuries. She signals her contemporary viewpoint on this long tradition by using late 20th-century synthetic materials, clearly revealed and juxtaposed. When she is most successful, as in this work, her visual cues skillfully evoke our powerful memories of landscapes we have experienced in both nature and art. Magically, we can imagine a cluster of plastic cubes as a cloud, or a surface of glass beads as a shimmering pond.

For MAM, Fernández designed an oval room. At varying levels on its curving white walls hovered amorphous configurations of small acrylic cubes, set more densely at the center and thinning out at the edges. The transparent cubes were colored only on their back sides in several shades of blue, so that they seemed to float just in front of the wall's surface. On the floor, two irregularly curving platforms were covered with literally millions of tiny, clear glass spheres through which were refracted dappled shapes of light and shadow. The general effect of the piece was of softly shifting atmospheres and reflecting surfaces: cool, sensual, serene and conceptually rigorous.

Fernández, like many artists before her, engages in a dialogue between artifice and nature. In considering the history of this dialogue, Seurat's lyrical, atomized landscapes as well as Monet's paintings of water lilies seem especially relevant. In her thoughtful contribution to the discourse, Fernández recalls Monet's oval rooms lined with water-garden paintings at the Orangerie in Paris. Monet made these installations with a generous hope that they would serve as a refuge and refreshment for harried urbanites. Fernández, using a new vocabulary of forms and materials, also creates artificial environments that generously make a place for connecting to nature in imagination. Evoking neither the awesome storms and threatening avalanches often associated in the literature of landscape with the masculine "sublime," nor quite the "beautiful" version of nature, modest and domesticated, that has been associated with the feminine, Fernández constructs a nature that has a contemporary, synthetic beauty in which femininity is imbued with toughness.