Podcasts about teresita fern

Episode No. 710 features curator Timothy Anglin Burgard and artist Tony Lewis. Burgard is the curator of "Wayne Thiebaud: Art Comes from Art" at the Legion of Honor in San Francisco. The exhibition details how Thiebaud drew ideas from and reimagined European and US artworks both old and new. It is on view through August 17. A superb catalogue was published by the Fine Arts Museums of San Francisco in association with University of California Press. Amazon and Bookshop offer it for $54-60. Lewis is featured in "What drawing can be: four responses" at the Menil Collection's Menil Drawing Institute, Houston. The exhibition, which also offers work by Jillian Conrad, Teresita Fernández, and Constantin Luser, presents ways in which the four artists stretch the boundaries of drawing and offer new ideas of what it can be. It's on view through August 10. The gallery guide is available here. Lewis' work examines the relationship between semiotics and language as a means to confront subjects such as race, power, communication, and labor. His solo exhibition credits include the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, and the Rose Art Museum, Brandeis University. His work is in the collection of museums such as the Art Institute of Chicago, the Museum of Contemporary Art, Chicago, the Studio Museum in Harlem, and the Museum of Modern Art, New York. Instagram: Tony Lewis, Tyler Green.

Episode No. 682 is a holiday clips episode featuring artist Leslie Martinez. Martinez is included within "Shifting Landscapes," which is at the the Whitney Museum of American Art in New York until January 2026. The exhibition considers how evolving political, ecological, and social issues motivate artists as they address the world around them (which is to say US artists are addressing land and landscape as they have since the days of Ralph Waldo Emerson and Thomas Cole.) The show was curated by Jennie Goldstein, Marcela Guerrero, and Roxanne Smith, with Angelica Arbelaez. Seven previous MAN Podcast guests are in the exhibition, including Robert Adams (Episode No. 41,  227, 555), Teresita Fernández, LaToya Ruby Frazier, An-My Lê, Patrick Martinez, Amalia Mesa-Bains, and Alison Saar. Martinez was previously featured in solo shows at MoMA PS1 in Queens, and the Blaffer Art Museum, University of Houston. Their work is in the collection of museums such as the Dallas Museum of Art, the Pérez Art Museum Miami, and the High Museum of Art, Atlanta. For images, see Episode No. 635. Instagram: Leslie Martinez, Tyler Green.

Ep.215 María Elena Ortiz is curator at the Modern Art Museum of Fort Worth, where she curated Jammie Holmes: Make the Revolution Irresistible (2023) and Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 (2024). Previously she was curator at the Pérez Art Museum Miami (PAMM), where she curated group shows Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, The Other Side of Now: Foresight in Caribbean Art, and solo exhibitions with Firelei Báez, Ulla von Brandenburg, william cordova,Teresita Fernández, José Carlos Martinat, Carlos Motta, and Beatriz Santiago Muñoz. At PAMM she founded the Caribbean Cultural Institute, a curatorial platform dedicated to Caribbean art, and worked to grow the museum's collection, securing works by Simone Leigh, Bisa Butler, Bony Ramirez, and others. In October 2024 Maria co-curated Flow States- La Trienal 2024 at El Museo del Barrio with Rodrigo Moura and Susanna Temkin. Photo Credit: Casey Kelbaugh The Museum of Modern Art Fort Worth https://www.themodern.org/program/maria-elena-ortiz | https://www.themodern.org/exhibition/surrealism-and-us-caribbean-and-african-diasporic-artists-1940 Caribbean Cultural Institute https://cci.pamm.org/en/author/mariaelena/ The Hopper Prize https://hopperprize.org/maria-elena-ortiz/ El Museo del Barrio https://www.elmuseo.org/ ICI https://curatorsintl.org/about/collaborators/6324-mara-elena-ortiz The Brooklyn Rail https://brooklynrail.org/contributor/maria-elena-ortiz/ The Weisman Museum https://wam.umn.edu/maria-elena-ortiz ARTnews https://www.artnews.com/art-news/news/el-museo-del-barrio-la-trienal-2024-artist-list-1234708729/ ArtSpeak https://artspeak.fiu.edu/interviews/maria-elena-ortiz/ Culture Type https://www.culturetype.com/tag/maria-elena-ortiz/ Rizzoli Books https://www.rizzolibookstore.com/author/maria-elena-ortiz

Hoy continuamos la conversación con una plática de mesa redonda con dos/tres invitadas representando a diversas organizaciones y posiciones de liderazgo en nuestro condado. Vamos a profundizar en un nuevo informe que revela algunas ideas sorprendentes sobre cómo les va a las mujeres y las niñas en el condado de Sonoma. Tenemos como invitadas a Ana Horta: Gerente de Participación Comunitaria de la Ciudad de Santa Rosa y Teresita Fernández: empresaria, dueña la Michoacana, Sonoma

Episode No. 655 of The Modern Art Notes Podcast is a holiday clips episode featuring artist Teresita Fernández. Fernández is included in "Forecast Form: Art in the Caribbean Diaspora, 1990s-today" at the Museum of Contemporary Art San Diego. It is the first major group exhibition in the United States to envision a new approach to contemporary art in the Caribbean diaspora, foregrounding forms that reveal new modes of thinking about identity and place. Over 20 artists are featured in this exhibition, many of whom live in the Caribbean or are of Caribbean heritage. "Forecast Form originated at the MCA Chicago. It was curated by Carla Acevedo-Yates, with Iris Colburn, Isabel Casso and Nolan Jimbo. This segment with Fernández was recorded in 2014 when Fernández  created a major new series of installations for MASS MoCA in North Adams, Mass. Titled “As Above So Below.” That show included three large-scale installations that are informed by Fernández's interest in landscape, art about landscape, and our perception of landscape, including Black Sun, Sfumato (Epic) and Lunar (Theatre).  In 2005 Fernández received a MacArthur Foundation “genius” fellowship. She has been the subject of solo exhibitions at MOCA North Miami, the Corcoran Gallery of Art, Artpace, the ICA Philadelphia, Castello di Rivoli outside Turin, the Modern Art Museum of Fort Worth and more.

Heidi Zuckerman is CEO and Director of the Orange County Museum of Art (OCMA) and a globally recognized leader in contemporary art. She is host of the podcast About Art and author of the Conversation with Artists book series.Appointed in January 2021, Zuckerman led the museum in opening its new home in October 2022 designed by Morphosis Architects under the direction of Pritzker Prize winner Thom Mayne. The state-of-the-art 53,000 square foot building is double the size of the museum's former location in Newport Beach. In a salute to OCMA's thirteen female founders, the opening collection exhibition will be 13 Women, organized by Zuckerman. This is the second building project she has completed. Zuckerman is the former 14-year CEO and Director of the Aspen Art Museum.After reimagining the museum as a world-class institution, she founded its annual ArtCrush gala, raised more than $130 million and built a new, highly acclaimed museum with Shigeru Ban, the 2014 Pritzker Prize winner for architecture. At the Aspen Art Museum, Heidi Zuckerman curated the exhibitions Wade Guyton Peter Fischli David Weiss (2017), Yves Klein David Hammons/David Hammons Yves Klein (2014), Lorna Simpson: Works on Paper (2013), Mark Grotjahn (2012) and Fred Tomaselli (2009).From 1999 to 2005 she was the Phyllis Wattis MATRIX Curator at the University of California, Berkeley Art Museum and Pacific Film Archive, where she curated more than forty solo exhibitions of international contemporary artists such as Peter Doig, Shirin Neshat, Teresita Fernández, Julie Mehretu, Doug Aitken, Cai Guo-Qiang, Tacita Dean, Wolfgang Laib, Ernesto Neto, Simryn Gill, Sanford Biggers, Ricky Swallow and Tobias Rehberger.Formerly she was the Assistant Curator of 20th-century Art at The Jewish Museum, New York, appointed in 1993, and curated Light x Eight: The Hanukkah Project, Contemporary Artist Project: Kristin Oppenheim and Louis I. Kahn Drawings: Synagogue Projects which traveled to The Israel Museum, Jerusalem.She has curated more than 200 museum exhibitions during her career and is the author of numerous books including a widely loved children's book The Rainbow Hour with artist Amy Adler.She was recently appointed to be an Arts Commissioner for the City of Costa Mesa.Zuckerman earned a BA in European History from the University of Pennsylvania, an MA in Art History from Hunter College at CUNY and holds a Harvard Business School Executive Education certification.

Teresita Fernández's work is characterized by an interest in self-reflection and conceptual wayfinding. Her immersive, monumental works are inspired by a rethinking of landscape and place, as well as by diverse historical and cultural references. Often drawing inspiration from the natural world, Fernández's practice unravels the intimacies between matter, places, and human beings. Her work questions power, visibility, and erasure in ways that prompt reflective engagement for individual viewers. Fernández is a 2005 MacArthur Foundation Fellow, the recipient of numerous awards, and was appointed by President Obama as the first Latina to serve on the U.S. Commission of Fine Arts, a 100-year-old federal panel that advises the president and Congress on national matters of design and aesthetics. She and I discuss not being a specialist, emptiness, sustainability, what lives inside of us, landscapes, vulnerability, indigenous thought, silence, not needing to hide the story, trusting your instincts, mothering, and seeing yourself in something that is not you.

When the Seattle Art Museum opened the Olympic Sculpture Park on the urban waterfront in 2007, it changed the way people could interact with art and experience the city's environment. The fact that it's free and open to everyone makes the park one of the most inclusive places to see art in the Pacific Northwest. The sculpture park contains pieces like Alexander Calder's red sculpture The Eagle, Jaume Plensa's giant head Echo, and Neukom Vivarium, a 60-foot nurse log in a custom-designed greenhouse, among many others. Although many people believe that the greatest work of art at the park is the park itself and the way it connects with its surroundings. Because of the efforts of the Seattle Art Museum and the city, instead of being filled with private condo buildings, this former industrial site has become a welcoming part of the waterfront for the public to enjoy sculptures, activities, and the gorgeous Elliott Bay views. The new book Seattle's Olympic Sculpture Park: A Place for Art, Environment, and an Open Mind, pays homage to the interconnected spirit of the park. Mimi Gardner Gates — the director of the Seattle Art Museum (1994–2009) at the time of the Sculpture Park's conception and creation — edited this collection of writings and images about the park and how public-private partnerships can create innovative civic spaces. Other contributors include Barry Bergdoll, Lisa Graziose Corrin, Renée Devine, Mark Dion, Teresita Fernández, Leonard Garfield, Jerry Gorovoy for Louise Bourgeois, Michael A. Manfredi, Lynda V. Mapes, Roy McMakin, Peter Reed, Pedro Reyes, Maggie Walker, and Marion Weiss. Seattle Times journalist Lynda V. Mapes and SAM curator Catharina Manchanda joined Gates in discussion about the remarkable waterfront park and how it might inspire future innovation in civic spaces. Mimi Gardner Gates was director of the Seattle Art Museum for fifteen years and is now director emerita, overseeing the Gardner Center for Asian Art and Ideas. Previously, she spent nineteen years at Yale University Art Gallery, the last seven-and-a-half of those years as director. She is a fellow of the Yale Corporation; Chairman of the Dunhuang Foundation; Chairman of the Blakemore Foundation; a trustee of the San Francisco Asian Art Museum; a trustee of the H. John Heinz III Center for Science, Economics and the Environment, and serves on the boards of the Yale University Art Gallery, the Northwest African American Museum, the Terra Foundation, and Copper Canyon Press. Dr. Gates formerly chaired the National Indemnity Program at the National Endowment for the Arts and served on the Getty Leadership Institute Advisory Committee. Lynda V. Mapes is a journalist, author, and close observer of the natural world, and covers natural history, environmental topics, and issues related to Pacific Northwest indigenous cultures for The Seattle Times. Over the course of her career she has won numerous awards, including the international 2019 and 2012 Kavli gold award for science journalism from the American Association for the Advancement of Science, the world's largest professional science association. She has written six books, including Orca Shared Waters Shared Home, winner of the 2021 National Outdoor Book Award, and Elwha, a River Reborn. Catharina Manchanda joined the Seattle Art Museum as the Jon & Mary Shirley Curator of Modern & Contemporary Art in 2011. Notable exhibitions for SAM include Pop Departures (2014-15), City Dwellers: Contemporary Art from India (2015), Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas (2017), and Frisson: The Richard E. Lang and Jane Lang Davis Collection (2021). Prior to joining SAM, she was the Senior Curator of Exhibitions at the Wexner Center for the Arts in Columbus, Ohio. She has also worked in curatorial positions at the Mildred Lane Kemper Art Museum, St. Louis; the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum; and the Philadelphia Museum of Art. She is the recipient of numerous international awards including an Andy Warhol Foundation grant, Getty Library Research grant, and others. Buy the Book: Seattle's Olympic Sculpture Park: A Place For Art, Environment, And An Open Mind from University Book Store Presented by Town Hall Seattle. To become a member or make a donation click here. 

Heidi Zuckerman is CEO and Director of the Orange County Museum of Art (OCMA) and a globally recognized leader in contemporary art. She is host of the podcast Conversations About Art and author of the Conversation with Artists book series.Appointed in January 2021, Zuckerman is leading OCMA as the institution prepares to open a new home in October 2022 designed by Morphosis Architects under the direction of Pritzker Prize winner Thom Mayne. The state-of-the-art 53,000 square foot building is double the size of the museum's former location in Newport Beach. In a salute to OCMA's 13 female founders, the opening collection exhibition will be Thirteen Women, organized by Zuckerman.Zuckerman is the former 14-year CEO and Director of the Aspen Art Museum. After re-imagining the museum as a world-class institution, she founded its annual ArtCrush gala, raised more than $130 million, and built a new, highly acclaimed museum with Shigeru Ban, the 2014 Pritzker Prize winner for architecture. At the Aspen Art Museum, Heidi Zuckerman curated the exhibitions Wade Guyton Peter Fischli David Weiss (2017), Yves Klein David Hammons/David Hammons Yves Klein (2014), Lorna Simpson: Works on Paper (2013), Mark Grotjahn (2012), and Fred Tomaselli (2009).From 1999 to 2005 she was the Phyllis Wattis MATRIX Curator at the University of California, Berkeley Art Museum and Pacific Film Archive, where she curated more than forty solo exhibitions of international contemporary artists such as Peter Doig, Shirin Neshat, Teresita Fernández, Julie Mehretu, Doug Aitken, Cai Guo-Qiang, Tacita Dean, Wolfgang Laib, Ernesto Neto, Simryn Gill, Sanford Biggers, Ricky Swallow, and Tobias Rehberger. Formerly she was the Assistant Curator of 20th-century Art at The Jewish Museum, New York, appointed in 1993, and curated Light x Eight: The Hanukkah Project, Contemporary Artist Project: Kristin Oppenheim, and Louis I. Kahn Drawings: Synagogue Projects which traveled to The Israel Museum, Jerusalem.She has curated more than 200 exhibitions during her career and is the author of numerous books including a widely loved children's book The Rainbow Hour with artist Amy Adler.Zuckerman earned a BA in European History from the University of Pennsylvania, an MA in Art History from Hunter College at CUNY and holds a Harvard Business School Executive Education certification.

We're breaking format to create something completely new: a collaborative performance of music, poetry and ideas between Hanif, artist Thao Nguyen (Thao & The Get Down Stay Down) and scholar Josh Kun. Named after the tool that mixes tracks on a DJ controller, Josh has been organizing an event series called ‘Crossfade Lab' where he brings artists together to ‘mix without erasing, combine without destroying' and find new places of connection between their work. In this episode, Hanif and Thao share poems and songs as they commune over how they use their respective practices as a way to expel and transform grief. Let's crossfade!Show NotesJosh Kun's ongoing project is Art of The Crossfade. If you're in Phoenix, join Josh and artists Teresita Fernández and San Cha for a live Crossfade Lab. Information here. Hanif read his poem It Is Maybe Time To Admit that Jordan Definitely Pushed Off, published in A Fortune For Your Disaster; and an excerpt from ‘On Going Home As Performance,' featured in his most recent book is A Little Devil In America: Notes in Praise of Black Performance.Thao performed the songs “Marrow” and “Temple” off her most recent album, Temple, and “Age of Ice,” off her album We the Common.CreditsThis show is produced by work by work: Scott Newman, Jemma Rose Brown, Mayari Sherina Ong, Kathleen Ottinger and by Hanif Abdurraqib. The show is mixed by Sam Bair. 

María Elena Walsh (Villa Sarmiento, 1 de febrero de 1930 - Buenos Aires, 10 de enero de 2011) ​ fue una poetisa, escritora, cantautora, dramaturga y compositora argentina, considerada como «mito viviente, prócer cultural y blasón de casi todas las infancias». El escritor Leopoldo Brizuela ha puesto de relieve el valor de su creación diciendo que «lo escrito por María Elena configura la obra más importante de todos los tiempos en su género, comparable a la Alicia en el país de las maravillas de Lewis Carroll o a Pinocho. Una obra que revolucionó la manera en que se entendía la relación entre poesía e infancia». Famosa por sus obras infantiles, entre las que se destacan el personaje/canción Manuelita la tortuga y los libros Tutú Marambá, El reino del revés, Dailan Kifki y El Monoliso, es también autora de varias canciones populares para adultos, entre ellas Como la cigarra, Serenata para la tierra de uno y El valle y el volcán. Otras canciones de su autoría que integran el cancionero popular argentino son La vaca estudiosa, Canción de Titina, El reino del revés, La pájara Pinta, La canción de la vacuna (conocida como El brujito de Gulubú), La reina Batata, El twist del mono Liso, Canción para tomar el té, En el país de Nomeacuerdo, La familia Polillal, Los ejecutivos, Zamba para Pepe, Canción de cuna para un gobernante, Oración a la justicia, Canción de caminantes, entre otras. Entre sus álbumes destacados se encuentran Canciones para mirar (1963) y Juguemos en el mundo (1968). En el panorama de la música infantil en Latinoamérica, se destaca junto a grandes maestros como el mexicano Francisco Gabilondo Soler y la cubana Teresita Fernández. La película de dibujos animados Manuelita (1999), dirigida por Manuel García Ferré para el público infantil, se inspira en su famoso personaje y reúne algunas de sus canciones. Saltó a la escena pública con la publicación, con apenas 17 años, del libro de poesía Otoño imperdonable. La obra le supuso el reconocimiento en los circuitos literarios de la época y el padrinazgo de Juan Ramón Jiménez, quien la invitó a instalarse una temporada en los Estados Unidos. La experiencia no resultó fácil para la autora, como relatara en diversas ocasiones. Sin embargo, este viaje fue el primero de una serie de travesías que daría pie a su formación como autora. Hacia 1948 formó parte del movimiento literario de La Plata, que se reúne en torno al sello editorial Ediciones del Bosque, creado por Raúl Amaral. Esta editorial publicó algunas de sus obras poéticas. Entre 1951 y 1963 formó el dúo Leda y María junto a Leda Valladares y entre 1985-1989 fue designada por el presidente Raúl Alfonsín para integrar el Consejo para la Consolidación de la Democracia. Durante toda su carrera publicó más de 20 discos y escribió más de 50 libros. Entre los artistas que difundieron el cancionero de María Elena Walsh se destacan el Cuarteto Zupay, Luis Aguilé, Mercedes Sosa,​ Jairo, Rosa León y Joan Manuel Serrat. Ya retirada de la música, continuó escribiendo artículos periodísticos, algunos guiones para televisión y las novelas de corte autobiográfico Novios de antaño y Fantasmas en el parque.

María Elena Walsh (Villa Sarmiento, Partido de Morón, 1 de febrero de 1930 - Buenos Aires, 10 de enero de 2011) 3​ fue una poetisa, escritora, cantautora, dramaturga y compositora argentina, considerada como «mito viviente, prócer cultural y blasón de casi todas las infancias».4​ El escritor Leopoldo Brizuela ha puesto de relieve el valor de su creación diciendo que «lo escrito por María Elena configura la obra más importante de todos los tiempos en su género, comparable a la Alicia de Lewis Carroll o a Pinocho. Una obra que revolucionó la manera en que se entendía la relación entre poesía e infancia».5​ Famosa por sus obras infantiles, entre las que se destacan el personaje/canción Manuelita la tortuga y los libros Tutú Marambá, El reino del revés, Dailan Kifki y El Monoliso, es también autora de varias canciones populares para adultos, entre ellas Como la cigarra, Serenata para la tierra de uno y El valle y el volcán. Otras canciones de su autoría que integran el cancionero popular argentino son La vaca estudiosa, Canción de Titina, El reino del revés, La pájara Pinta, La canción de la vacuna (conocida como El brujito de Gulubú), La reina Batata, El twist del mono Liso, Canción para tomar el té, En el país de Nomeacuerdo, La familia Polillal, Los ejecutivos, Zamba para Pepe, Canción de cuna para un gobernante, Oración a la justicia, Canción de caminantes, entre otras. Entre sus álbumes destacados se encuentran Canciones para mirar (1963) y Juguemos en el mundo (1968). En el panorama de la música infantil en Latinoamérica, ella se destaca junto a grandes maestros como el mexicano Francisco Gabilondo Soler y la cubana Teresita Fernández. La película de dibujos animados Manuelita (1999), dirigida por Manuel García Ferré para el público infantil, se inspira en su famoso personaje y reúne algunas de sus canciones. Saltó a la escena pública con la publicación, con apenas 17 años, del libro de poesía Otoño imperdonable. La obra le supuso el reconocimiento en los circuitos literarios de la época y el padrinazgo de Juan Ramón Jiménez, quien la invitó a instalarse una temporada en los Estados Unidos. La experiencia no resultó fácil para la autora, como relatara en diversas ocasiones. Sin embargo, este viaje fue el primero de una serie de travesías que daría pie a su formación como autora. Hacia 1948 formó parte del movimiento literario de La Plata, que se reúne en torno al sello editorial Ediciones del Bosque, creado por Raúl Amaral. Esta editorial publicó algunas de sus obras poéticas. Entre 1951 y 1963 formó el dúo Leda y María junto a Leda Valladares y entre 1985-1989 fue designada por el presidente Raúl Alfonsín para integrar el Consejo para la Consolidación de la Democracia. Durante toda su carrera publicó más de 20 discos y escribió más de 50 libros. Entre los artistas que difundieron el cancionero de María Elena Walsh se destacan el Cuarteto Zupay, Luis Aguilé, Mercedes Sosa6​ Jairo, Rosa León y Joan Manuel Serrat. Ya retirada de la música, continuó escribiendo artículos periodísticos, algunos guiones para televisión y las novelas de corte autobiográfico Novios de antaño y Fantasmas en el parque.

The art world has been up in arms this week as Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shani were all announced as the winner of the Turner Prize. We talk to Louisa Buck about the decision and how it might change the award in the future. Plus, we talk to the Miami-born artist Teresita Fernández about her homecoming show at Pérez Art Museum Miami. See acast.com/privacy for privacy and opt-out information.

#69: Talking Power with Ford Foundation President Darren Walker and Artist Teresita Fernández Ford Foundation president Darren Walker and MacArthur “genius” artist Teresita Fernández already had a long history of collaboration before coming together for this discussion with host Charlotte Burns about social justice, leadership, art, beauty—and power. “The truth is that equity is not given. Power is not given. The history of power is always that it is taken,” Fernández says. “If you want your table to be diverse and inclusive, somebody's going to have to get up.” To hear more, tune in today. Transcript: https://www.artagencypartners.com/transcript-69-darren-walker-and-teresita-fernandez/ "In Other Words” is a presentation of AAP and Sotheby's, produced by Audiation.fm.

#69: Talking Power with Ford Foundation President Darren Walker and Artist Teresita Fernández Ford Foundation president Darren Walker and MacArthur “genius” artist Teresita Fernández already had a long history of collaboration before coming together for this discussion with host Charlotte Burns about social justice, leadership, art, beauty—and power. “The truth is that equity is not given. Power is not given. The history of power is always that it is taken,” Fernández says. “If you want your table to be diverse and inclusive, somebody’s going to have to get up.” To hear more, tune in today. Transcript: https://www.artagencypartners.com/transcript-69-darren-walker-and-teresita-fernandez/ "In Other Words” is a presentation of AAP and Sotheby’s, produced by Audiation.fm.

Teresita Fernández defies expectations. For more than 20 years, the Miami-born, Brooklyn-based artist has pushed boundaries, literally and figuratively, through her large-scale sculptures, mixed-media works, and high-profile public installations, such as the seemingly illusory “Fata Morgana” in New York City’s Madison Square Park in 2015 and cocoon-like “Autumn (... Nothing Personal)” at Harvard University last year. Her highly evocative work, at its heart, explores the many complex layers embedded in things—an idea that’s inspired, in part, from the traditional East Asian garden concept of shakkei, or “borrowed landscape,” something she discusses in-depth with Spencer Bailey on this episode of Time Sensitive. Even if Fernández’s beautiful, affecting art can be enjoyed on the surface, to fully grasp her shrewd explorations of landscape and her exquisite experimentations with materials—from ceramics to charcoal to gold to graphite—viewers must look at them closely and read them deeply. If they do, they’re likely to come away with a greater, and certainly more real, understanding of the complicated colonial history of the Americas, as well as the sublime beauty inherent in so many of the natural wonders around us. In the lead up to her mid-career retrospective, “Teresita Fernández: Elemental”—perhaps her most ambitious exhibition yet, opening at the Pérez Art Museum Miami this fall (Oct. 18, 2019, to Feb. 9, 2020)—the 51-year-old artist recently came by The Slowdown’s New York City headquarters to share stories about her life and work, from being raised by hardworking Cuban exile parents in Miami to studying for her M.F.A. at Virginia Commonwealth University in a then largely Confederate-proud Richmond. As this interview makes clear, Fernández’s life is as wonderfully layered and complex as her art.

“Why make a podcast right now?” So begins this 10-minute introductory episode of Time Sensitive, a conversation between the show’s two co-hosts, Spencer Bailey and Andrew Zuckerman. Time Sensitive is the debut platform of the conscious entertainment media company The Slowdown, co-founded by Bailey, an editor and journalist who has written at length about architecture, art, culture, design, and technology, and Zuckerman, a filmmaker, photographer, and creative director whose work is largely concerned with the intersection of nature and technology. Consider this episode a “who we are, how we got here, where we’re going” primer. Each week, going forward, Time Sensitive will release an interview conducted respectively by Bailey or Zuckerman with a leading mind in business, the arts, and beyond who has made a profound impact in their field, contributed to the larger conversation, and is concerned with the planet we all share. Episode 1 [include URL to episode], with actor-marathoner-musician-writer-horticulturalist Peter Sarsgaard, is now live. In the weeks to come, you’ll hear lively conversations with Ghetto Gastro’s Jon Gray, fashion stylist Kate Young, architect Bjarke Ingels, artist Teresita Fernández, and more. The common thread between all of them? They’re curious and courageous—and each has a distinct perspective on time. Special thanks to drummer Billy Martin, who composed the Time Sensitive theme music; art director Omar Sosa, who collaborated on the design of the Time Sensitive site and identity; web developer Eric Bichan, who coded the site; and sound engineer Pat McCusker.

Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment. DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg, Copenhagen, among others. The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level. Introducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum, she has also organized exhibitions, written and/or lectured independently for la Colección Patricia Phelps de Cisneros, MoMA, The Metropolitan, MACBA in Barcelona, the Reina Sofía, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America, focusing on transhistorical connections among Buenos Aires, Montevideo, Rio de Janeiro, São Paulo, Caracas, Havana, Miami, and New York. She has worked with Janine Antoni, Lothar Baumgarten, Guy Ben-Ner, Janet Cardiff, Eloísa Cartonera, Consuelo Castañeda, Lygia Clark, Willie Cole, Jeannette Ehlers, Teresita Fernández, Naomi Fisher, Marlon Griffith, Lucio Fontana, Dara Friedman, Luis Gispert, Felix Gonzalez-Torres, Adler Guerrier, Ann Hamilton, Quisqueya Henríquez, Leslie Hewitt, Nadia Huggins, Deborah Jack, Seydou Keita, Gyula Kosice, Matthieu Laurette, Miguel Luciano, Gordon Matta-Clark, Ana Mendieta, Antoni Miralda, Marisa Morán Jahn, Glexis Novoa, Hélio Oiticica, Dennis Oppenheim, Nam June Paik, Manuel Piña, Miguel Angel Ríos, Bert Rodriguez, Marco Roso, Nancy Rubins, George Sánchez-Calderón, Beatriz Santiago Muñoz, Tomás Saraceno, Karin Schneider, Regina Silveira, Lorna Simpson, Valeska Soares, Javier Tellez, Joaquín Torres García, and Fred Wilson, among many other remarkable artists.

Teresita Fernández is a contemporary artist based in New York. Her large-scale, sculptural works showcase her interest in perception, and are often inspired by landscape and natural phenomena, as well as diverse historical and cultural references. Fernández's work is included in numerous museum collections including the Museum of Modern Art; San Francisco Museum of Modern Art; the Walker Art Center, and the Smithsonian American Art Museum. She is the recipient of the MacArthur Foundation's "genius grant," a Guggenheim Fellowship, and a National Endowment for the Arts Grant. In 2011, Fernández was appointed by President Obama to the U.S. Commission of Fine Arts. Her work Nocturnal (Horizon Line) is part of the Our America: The Latino Presence in American Art, opening October 25 at the museum. Fernández will discuss three of her installation pieces and the evolution of her work.

This audio podcast series discusses artworks and themes in the exhibition "Our America: The Latino Presence in American Art" at the Smithsonian American Art Museum. In this episode, artist Teresita Fernández discusses her work, "Nocturnal (Horizon Line)"

In this series, E. Carmen Ramos, curator of Latino art, discusses the exhibition "Our America: The Latino Presence in American Art" at the Smithsonian American Art Museum. This episode looks at the work "Nocturnal (Horizon Line)" by Teresita Fernández.