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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

ArtReview


Exposed to the elements
Teresita Fernández captures the force of nature by surprisingly minimal means, says Lauren Stakias

Artistic investigations into the power and sublimity of the natural world encompass everything from Japanese woodcut prints and the landscapes of the Hudson River School to the earthworks of the 1960s. Working within this extensive and diverse tradition, Teresita Fernández pares down nature to its bare essentials, isolating form, light and colour with a minimalist sensibility.

Fernández's previous work has brought the outside world into the gallery via her glass and acrylic sculptures and installations harnessing the energy and beauty of various natural elements: sky, sand, fire, and water. Yet rather than working in or with nature directly, as in the land art of Michael Heizer or Robert Smithson, Fernández creates her own perfected, geometric terrain detached from and devoid of all natural grittiness or flaw. These works, clearly manufactured and employing synthetic materials, also call attention to mankind's increasing ability, through science and technology, to observe and restrain the world around us.

In her second solo exhibition at New York's Lehmann Maupin this month, the Miami-born, Brooklyn-based artist turns to drawing in addition to sculpture, taking her previous abstractions to a new level. In pieces like Pink Smoke and Blue Haze, an all-over but irregular pattern of loopy lines creates a fog obscuring the picture plane. Soft pastel pinks, blues and greys evoke the sky at dawn or dusk. While she makes no specific visual reference to a particular natural phenomenon, there is an unmistakably light, airy quality to her drawings. It is as if Fernández has succeeded in isolating and arresting every atom of the air at a particular moment in time, an investigation of the effects of light on a landscape that is almost Impressionistic.

Fernández is also collaborating with the Fabric Workshop in Philadelphia on a new installation, in which thousands of flame-coloured threads will be suspended between two large rings. As in the drawings, the piece reduces the force of nature into its most basic aesthetic components, with light and air creating an ever-changing field of colour. Without exactly replicating a natural phenomenon, Fernández's approach nevertheless manages to distil its essence, in a work that is both calm and vital.

Teresita Fernández, 15 April-14 May, Lehmann Maupin, New York (+ 1 212 255 2923, www.lehmannmaupin.com); 8 Oct-7 Jan 2006, The Fabric Workshop and Museum, Philadelphia (+1 215 568 1111, www. fabric workshopandmuseum.org)