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Teresita Fernández

PRESS

The Brooklyn Rail

May 1, 2017

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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

Artforum


Artforum
March 2010

Teresita Fernández
Blanton Museum of Art
By Laura Lindenberger Wellen

Teresita Fernández's Vertigo (sotto in su), 2007, appears to be an artwork made from clouds. Precision-cut aluminum sheets hang in a stack from the ceiling, their biomorphic forms splintering reflected light and casting a cascade of overlapping shadows across the nearby walls; seen from across the gallery, the sculpture seems to dissolve in the surrounding space. But after moving directly beneath the piece and looking up, the viewer finds his or her own reflection staring down - the image is distorted: telescoped, fractured, and surrounded by the warm wood floor. (Sotto in su is a Renaissance foreshortening technique for painting figures on high ceilings.) Tracing relationships between the natural and the human, between landscapes that are found and those that are made, is at the heart of Fernández's sculptural projects.

In nature, "all mean egotism vanishes," Ralph Waldo Emerson wrote: "I become a transparent eyeball; I am nothing; I see all." And Fernández's works - as critic Gregory Volk argues in his catalogue essay - often elicit this transcendental immersion, dissolving the boundaries between sculpture, viewer, and environment. Simultaneously, however, ego is everywhere in this exhibition, as viewers find (and begin to look for) their own reflections in the polished aluminum, black fiberglass, stainless steel, and onyx beads. In Portrait (Blind Landscape) and Portrait (Blind Water) (both 2008), for example, sections of polished stainless steel are vertically suspended inches from the wall, each punctured (as are the aluminum panels in Vertigo) with organically curved holes. Here, the colored enamel Fenández applied to the backs of the sheets reacts off the gallery's white walls, so that softly hued halos encase the works. With green used for Landscape and blue for Water, the sculptures can be imagined to resemble, respectively, a leafy canopy and a frozen cascade of water. Drawn toward these shimmering surfaces, the viewer confronts his or her reflection straight on, broken by the holes, which teasingly add a third eyeball, a distorted cheek.

Fernández's sculptures also engage viewers by responding to their movement through space; the works are activated based on where you stand and how you walk around them. For instance, Drawn Waters (Borrowdale), 2009, a monumental graphite waterfall that slides down to a pile of shiny rocks at its base, is best seen not in the gallery itself but from the atrium. There, the Blanton has permanently installed Fernandez's Stacked Waters, layers of blue cast-acrylic panels lining the walls. (The piece was commissioned last year.) When Drawn Waters is seen framed by Stacked Waters's azure surfaces, the effect is magical, even sublime, and it draws the whole building into the artist's splendid imagining of water.

The rendering of light in Fernández's works is enigmatic yet alluringly simple. In Eruption (Large), 2005, a slightly recessed platform painted orange and red and filled with tiny transparent glass beads casts bright, colored reflections on the ceiling. The effect recurs in Dune, 2002, in which curved bands of painted aluminum - also recessed and filled with beads - form an amphitheater-shaped structure. While the beads sometimes look like the scales of lizard skin, the plywood-color aluminum, when viewed from certain angles, replicate a desert glare. In these two works, the structures themselves are less interesting than the shimmering effects they produce. Further, compared with the gray and silver surfaces dominating the show, these sculptures are surprisingly warm and colorful.

Throughout "Blind Landscape" the natural is evinced by the industrial, offering an insightful meditation on our encounters with the natural world, especially as it is experienced in the constructed landscapes of our urban spaces. Like finding small patches of greenery sprouting up through cracks in the sidewalk, or glimpsing a reflection of a sunset caught by the glassy surfaces of skyscrapers, encountering these works elicits surprise and wonder. And, as we flicker in and our of the picture, Fernández reminds us how fragile our place in the landscape is.