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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

Monocle


Monocle
November 2009

In Her Element – New York
Writer: Luke Crisell
Photographer: Adam Golfer

Preface
Artist Teresita Fernández, who was awarded a MacArthur Fellowship in 2005, makes pieces that reflect the landscape as she sees it. Monocle visits her as she prepares to install her new show in New York.

"I'm originally from Miami but moved to New York 12 years ago. Living here in Brooklyn gives me privacy. I live next door to my studio. I love this neighbourhood, Boreum Hill. I like that I can walk out of my studio and turn right and there are all these gritty industrial warehouses along the Gowanus Cancel, and if I turn left I can get good food and great espresso. I feel I can move between different areas of life very easily.

I've spent most of the last month going back and forth to Japan installing my commissioned work "Blind Blue Landscape" at the Benesse Art Site in Naoshima. I thrive on a hectic travel schedule. It keeps me organized. Soon, I'll install my show at Lehmann Maupin, and a museum show at The Blanton in Texas.

I like to think that I'm very hands-on in the sense that I'm obsessed with detail and how things get made I've had three people in here doing nothing but polishing and shaving chunks of graphite for the last five months. When I'm not traveling or in production meetings, I'm working ere in the studio. I'm a night owl, when no one else is here. I need to be alone in order to think about why I'm making work and what's going to happen next. Right now, my whole live is covered in graphite. My new show at Lehmann Maupin will be made completely out of graphite, from the large-scale sculpture to a kind of panoramic wall installation to small drawings that are simultaneously relief sculpture, painting and traditional drawing. Graphite is relentlessly messy to work with, and everything here in my studio has acquired a gorgeous deep-grey metallic sheen. Natural raw graphite has an unreal, luminous quality. Its luster and its connection to diamonds, which have the same chemical composition, seduced me.

I traced the origins of graphite to Borrowdale in the Lake District, England, where it was first discovered and mined in the 1500s. I liked the idea that the whole of Borrowdale was essentially one big drawing, solid graphite underfoot. This is what prompted me to want to make these big, solid, three-dimensional smudges. To assemble one of the graphite pieces becomes essentially to engage in the act of drawing. I think of us as viewers and makers, as being terribly volatile, always infusing the act of looking with these serendipitous optical and psychological frenzies, so that the work is always different and always informed by the disposition of a complicit viewer.

The "Nocturnal" drawings in my upcoming show are meant to sdisappear. They can be initially mistaken to disappear. They can be initially mistaken for dark, minimalist paintings. As you get closer and the surface of the polished graphite catches the light and details - the cliffs and tidal pools and night skies - are revealed. I wanted it to feel like your eyes were adjusting to the darkness, where the longer you wait the more you see. All this emphasizes this underlying theme of dimming something in order to see more; this connection between revealing and concealing. I'm fascinated by this idea that to be dazzled and blinded are, optically, the same exact thing.

I was amazed and thrilled to get the Naoshima commission. I oversaw the installation. I had an amazing crew that had just finished installing the recent Monet acquisition. There were 13 people working for a week attaching almost 30,000 tiny, mirrored glass cubes to a curved wall of the Tadoa Ando space with a highly, choreographed, precise system. Each morning the workers would meet and the boss would give them a pep talk about how they should take pride in their work. Then everyone would do stretching exercises? When you go to Naoshima the landscape is so powerful and I wanted to create a piece that reflected everything that was happening atmospherically in the space around it, so each mirror becomes a miniature portrait of the changing landscape.

Working with landscape as a reference is the ultimate grandiose gesture; I'm intrigued by the pretentious, formal, and historical baggage it comes loaded with. I often spend weekend in my cabin upstate, which is near the Franklin Mineral Mine and the area where Robert Smithson (a specialist in large earthwork sculptures) conceived so much of his work. This is where I first became fascinated with the idea of mining in relation to a deliberately romanticized landscape.

After the shows in New York and Texas I'm going to Singapore for a month to develop a new body of work. I feel much more excited about what's coming than what I've already accomplished. I think that's the place you want to be as an artist because you get to a point where people expect something of you based on the work you have already created. The crucial thing is, you are looking forward or are you looking at what you've already done? I'm still being constantly surprised by my work and to me that's crucial."