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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

The Art Newspaper


Teresita Fernandez wants to change the way you think about American landscapes
By Julia Halperin 

 

When we think of the Hudson River School, we tend to picture majestic vistas, dramatic waterfalls and lush treetops. But a new installation by Teresita Fernández, due to open this spring at the former home of the Hudson River School painter Frederic Edwin Church, seeks to remind us that these vistas have always been home to real people—they are simply outside the frame. “I think landscape is as much about what you don’t see as what you do see,” Fernández says.

 

The artist teamed up with the Olana State Historic Site and the Olana Partnership, which maintains Church’s 250-acre property in the Hudson Valley, and the New York-based Colección Patricia Phelps de Cisneros, to bring together more than 60 works by artists who travelled to Latin America in the 19th century (Overlook: Teresita Fernández Confronts Frederic Church at Olana, 14 May to autumn 2017). The exhibition will juxtapose traditional landscape paintings by artists including Church, Marianne North and Martin Johnson Heade with rarely seen portraits of the indigenous people and travellers they encountered during their expeditions.

 

When visitors enter the installation, they will be confronted by a wall of portraits. “You are being inserted into this situation where there is a healthy kind of discomfort,” Fernández says. “The portraits are looking at all the landscapes where they have been made invisible.”

 

The New York-based artist developed the concept for the installation as she dug into both Olana’s holdings and the Cisneros’s collection of work by traveller artists who explored Latin America and the Caribbean in the 17th through 19th centuries. More often than not, people in the compositions were pushed to the edge of the canvas, rendered no larger than a fingernail.

 

As she dug deeper, however, she found sketches and drawings that told a different story. The French artist-explorer Auguste Morisot, for example, kept a sketchbook during his expedition along the river Orinoco in the late 19th century and drew the people he encountered along the way. Most of these works have not been shown publicly before. “They are modest things—pencil or crayon studies—but they open up such a fascinating window to reframe all these ideas we have about the places we know so well from these paintings,” Fernández says.

 

She also plans to integrate her own portraits of iconic Latin American and Caribbean artists into the display. “I liked the idea of inserting artists whose places of origin are the very places depicted in these landscapes,” she says. Her subjects include the Venezuelan artist Jesús Rafael Soto, who is also represented at Olana with a sculpture of his own. The bright yellow, interactive installation Penetrable (1990)—which has until recently been on long-term loan from the Cisneros Collection to the Los Angeles County Museum of Art—will be installed on the property’s grounds for the duration of the exhibition.

 

Fernández hopes the project will encourage visitors to reconsider what it means to look at an American landscape. The Hudson River School painters’ own understanding of landscape, she notes, was as much defined by their Latin American travels as it was by their expeditions closer to home.

 

“It seems particularly relevant to me in this moment: who gets to define American art and who is excluded?” she says. “The United States is the only country that uses America as though it’s exclusive. Throughout Latin America, we say ‘Americas’. This is a way of expanding what we think of as the American landscape.”