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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

PRESS

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

Vogue


People are Talking About
Art

The Dazzle
Teresita Fernández makes art that is structurally elegant, thoughtfully compelling, and absolutely luminous.
BY ANNE STRINGFIELD

Dividing her time between a cement-floored Brooklyn studio and the cozier house next door that she shares with her husband and two children, the sculptor Teresita Fernández has never been one to court publicity. But lately the limelight keeps finding her. First came high-profile installations at the Miami Art Museum and New York's Museum of Modern Art; in 2005, she received a MacArthur "genius" grant; and when Seattle's Olympic Sculpture Park opened in January, her glass-walled overpass was hailed as a new urban landmark. As Fernández observed when the MacArthurs were announced, "It's nice when somebody notices."

Such modesty does not begin to hint at the spectacular visual effects of the work the 38yearold artist has been producing since her graduation from art school in 1992. Curator Lisa Corrin, who calls Fernández "one of the best kept secrets in the contemporary art world," invited her to participate in the Olympic Sculpture Park because she "wanted an artist who would change the quality of moving from one part of the park to another." She got her wish. Psychedelically hued cloud patterns cast bright shadows over passersby, while blocks of glass provide viewers with glittering, cinematic glimpses of the city. "On gray days, the swath of Technicolor it injects into the landscape is amazing," says Seattle Art Museum curator Michael Darling. Although her work is characterized by its remarkable optical illusions, Fernández insists on demystifying them. "A trick disintegrates the moment it is understood; there is a vulgarity to it," she explains. What she's aiming for is "a lingering ephemeral engagement."

New Yorkers can engage with her this month at a new show at the Lehmann Maupin gallery. In one piece, a highly polished pane of onyx glass set in a snow-white drift recalls the Claude glass, a tinted convex mirror used by eighteenth-century painters to lend a misty romanticism to landscapes; Fernández wants viewers to see themselves as if they were "standing in an inky snowscape." She regularly evokes natural phenomena in her work, usually the rainbows, waves, and sand dunes of her Miami childhood. What remains constant is her pleasure in the transcendent complexity of vision. As Fernández says, "To be blinded and to be visually dazzled is a very similar experience."