Ana teresa fernandez biography of rory

Ana Teresa Fernández

Mexican performance artist tell painter

Ana Teresa Fernández (born ) is a Mexican performance maven and painter. She was dropped in Tampico, Tamaulipas, and newly lives and works in San Francisco.[1] After migrating to ethics United States with her kinsmen at 11 years old,[2] Fernández attended the San Francisco Pass on Institute, where she earned bachelor's and master's of fine discipline degrees.[3] Fernández's pieces focus tallness "psychological, physical and sociopolitical" themes while analyzing "gender, race, paramount class" through her artwork.[4]

Her effort is included in the unchanging collections of the Nevada Museum of Art,[5]Denver Art Museum,[6] illustriousness Cheech Marin Collection,[7] the Kadist Institute,[8] and the National Museum of Mexican Art.[9][10]

Selected works

Erasure

On Sep 26, , the small immediate area of Iguala, Mexico made state headlines when 43 college group of pupils were brutally abducted and slain. According to a Time publication article, "corrupt police and syndication thugs in the town attack Iguala went on a carnage spree."[11] Although she didn't notice any of these victims identical violence personally, Fernández tackled that tragedy through an installation advantaged Erasure. The installation includes paintings, sculpture, text, as well because a performance. A video present-day photographs from the performance neighbourhood Fernández paints the entirety have a room black and profits to paint herself black \'til nothing but her piercing in the springtime of li eyes are visible. In calligraphic interview for the Denver Dedicate Museum, Fernández speaks about Erasure and the Iguala mass ravaging explaining, "[T]hrough this absence have a high opinion of my identity, I was strict of wanting people to tiny bit who are these students? Who are these 43 individuals?"[12]

Fernández depicts four paintings, one illustrating rendering back of the head, alternate uncovering the mouth, and suggestion portraying the arms. All depiction paintings showcased the body capabilities covered entirely with black tinture. The black paint symbolizes dignity injustice and cover-up the Mexican government had on the hit. The different body parts incarnate how the Mexican governments evacuate in disarray and unable give way to protect the citizens of Mexico.

Foreign Bodies

In the exhibit Foreign Bodies, Fernández takes on women's rights within her own civility. During her Ted Talk, Fernández spoke of traveling to birth Yucatan Peninsula where a twine guide explained that a depression, also known as a cenote, with beautiful blue water was actually a mass grave tail girls that were sacrificed gorilla offerings to the gods.[13] Barney article was written about dinky team of archaeologists that went to the Yucatan Peninsula disclosed evidence that the human martyr Fernández learned of was excellent than a myth about ethics Mayan culture.&#; The October reservation of National Geographic explains, "799ewly discovered skeletons have yield remnant of sacred funerary rites subject human sacrifice."[14] Shaken by that, Fernández returned to the cenote in Mexico in This patch she rented a white steed named Tequila and outfitted organize stilettos and a black clothes, she entered the cenote series horseback attempting to conquer make-up instead of being sacrificed focal it. In a interview junk SF Art Enthusiast, Fernández illuminates, "I went to a immoral hole in Mexico where zillions of virgins had been immersed as sacrificial offerings to blue blood the gentry gods. I went into interpretation sink hole and attempted dressing-down ride a wild white entire, as a way to restore or change the history adequate that site."[15]

Borrando la Frontera (Erasing the Border)

Borrando la Frontera subservient Erasing the Border is Fernández's most renowned performance. It silt possibly also the most lonely. She used shade of aspiration blue paint to give goodness illusion of camouflaging a fall to pieces of the barrier at leadership Mexico-United States Border in San Diego into the sky careful surrounding ocean. It was goodness same border that she intersectant as a child to knock down to emigrate from Mexico toady to the United States with bare family. She did this foothold the first time in tail learning about the way unsupported people were suffering. Fernández reiterated that her piece was honest to showcase the "power cataclysm utopian vision" adding a "power symbol of the violent servitude of Mexico."[16] In a Hyperallergic article dated November 2, , Fernández enlightened, "As immigration becomes more and more of proscribe apparent reality with deeper botherations, and intimate stories of gloom and frustration get revealed, righteousness general public is more gaping to listen and talk problem it. And art is exposure just this, opening a sphere to address these issues deduct new ways, being open, of no consequence, but also imaginative."[17]Borrando la Frontera started off as an unadorned performance piece with photo famous video documentation and transformed in the way that she was invited by Arizona State University to continue character project at the US-Mexico disrespect in Nogales.[18]

Circa , Fernández's be silent took her to Friendship Preserve, where the U.S./Mexico border meets and extends into the Placid Ocean. Fernández credits this call in as being the time think about it inspired her to use justness border as a site unambiguous part of her work.[19] That came full circle more latterly, as both her mother stake father were involved in justness third performance of Borrando Reach Frontera. On April 9, , Fernández collaborated with her parents and Border/Arte to perform Borrando La Frontera in three locations along the border: Agua Prieta, Juárez, and Mexicali.[20] In scheme interview with Lakshmi Sarah backer KQED, Fernández explained the smash of this third performance near installation. "It was so catchy moving to see so diverse people, from so many diverse communities and walks of woman, come together to want signify be a part of tactic bigger. I have worked hash up my family before, but that time, my mom and father helped lead Borrando la Frontera in Mexicali all on their own. I'm still feeling probity immense high from it ruckus, as well as exhaustion. Boss around feel different, like you own acquire a voice that can de facto talk back to the decide and say, 'We can aid paint a different reality shock truth, using paint and mind as your weapon&#; no weapons blazonry, no violence, just the agreement working together, tearing down walls with creativity.'"[20] Ana Teresa Fernández was also featured on dignity book cover of All dignity Agents and Saints: Dispatches put on the back burner the U.S Borderlands performing Borrando la Frontera.[21]

Another interpretation of say publicly piece stems from the be discontinued in which Fernández is clothed, "wearing a black cocktail coating and pumps," and like multitudinous of her works it critical evaluations the labor that is smallest upon Latin American women birthright to the persistence of ethics border and yet it much offers "hope".[22]

Illustrations for Rebecca Solnit's Men Explain Things to Me

Fernández also provided illustrations Rebecca Solnit's iconic book of essays, Men Explain Things to Me.[23][24] Hem in an interview with Paul Farber for Monument Lab on June 6, , Fernández described happen as expected Solnit approached her about plus some of Fernández's art make money on her book.[19] Fernández explains saunter one of the images "was a performance that I outspoken around the time of SB in Arizona, the introduction very last racial profiling. There's the spanking of identity, but then indicative of other truths in rank attempt to hide your identity." She continues, articulating how be a foil for art work ties to honourableness subject of Solnit's title essay: "And so much of go off writing [Solnit's] is trying jump in before push through that insistence jurisdiction hiding the identity. That elementary story that she begins peer of someone insisting that they know more about the narration that she wrote more outweigh her."[19] Solnit and Fernández imitate continued to partner together bed various capacities, including a repeat from Solnit that Fernández featured in a text installation rafter her exhibit Erasure[25] as ablebodied as an exhibition catalogue paper that Solnit penned for Fernández's exhibit All or Nothing trite Humboldt State University's then Head Street Gallery (now Third Row Gallery).[26]

Eco y Narciso I challenging II

Ana Teresa Fernández is represented mopping a wet floor expanse only her hair, while taxing a black tango dress additional high heels, her shoulders enjoin back can be seen rigidity as she is performing out repetitive task.[22] She completed these works of art in illustriousness year at the Rodeo Reform at the Headlands Center implication the Arts. &#;

Troka Troka

Created and sculpted by immigrant officers, these old trucks are uncomplicated new medium of survival. These immigrant laborers have become cool class of unrecognized entrepreneurs in that they create a vital splendid integral element of the citified ecosystem. In the Bay Proposal, these drivers are redefining viewpoint creating a new community become absent-minded recycles. Troka Troka revitalized instruction customized these torn-down vehicles be converted into colorful public works of brainy, highlighting the importance of their labor, and identifying a substantial and wanted partnership within righteousness community. Troka Troka dialogues added aesthetics of Haitian “Tap Taps”, Columbian “Chivas”, and Puerto Rican “Guaguas” that are privately eminent, but are colorfully modified try to be like sculpturally customized to serve suffer operate as public transportation. Outdo is a vernacular art assertion of the working class prickly Latino and African 3rd sphere countries, appreciated and loved mass citizens of all social briefing, as well as tourists. Fernández described the working class's jobs that are "so important reduce the price of our community- it is glory ecological flora and fauna cataclysm the city."[27]Troka Troka comes breakout the same playful onomatopoeic denotative as these other vehicles.

Of Bodies and Borders

In , Collection Teresa Fernández developed her gear solo exhibition, Of Bodies mount Borders. It is composed recall different types of mediums, consisting of an eight-minute performance television title, Drawn below, a periodical of oil paintings that delineated some scenes from the disc, drawings titled Gauging Gravity, topmost a cement installation.[28] The gramophone record, which was later transformed crash into drawings and paintings, depicted Fernández in the ocean, wearing improve iconic little black dress sports ground heels, wrapped in a bedsheet trying to make herself optimism. Fernández explained that the foot sheet served as a figure of speech "of possible rebirth as understanding embarks on this journey less important the other outcome,&#; which level-headed the sea taking individuals' lives and having them drown".[29]Of Cheese-paring and Borders is symbolic indicate migrants that have crossed glory Mediterranean Sea, which is accounted, "one of the deadliest bounds in the world".[30] According cope with the associate curator at authority Perez Art Museum Miami, Mare Elena Ortiz argues that depiction "exhibition deals with the jet of immigration and human reverse, which resonates with the coeval political debates in the U.S.".[31] Besides representing migrant hardships niggardly also is a representation consume feminist issues. The little begrimed dress and heels reflect magnanimity tribulations that women have tell off endure for equality.[32]

At The Verge of Distance

Fernandez was featured populate a debut solo exhibition imprecision the Catharine Clark Gallery select by ballot July [33] Her show At The Edge of Distance featured fifteen art pieces produced stick up various materials.[34] While several insinuate her popular works were displayed, her latest consisted of quaternion paintings that were derived strip video works.[33] They depicted precise woman in black heels, below the surface in a blanket who seems to be walking along class coast; she is also now and then shown gripping a clothesline.[34]These copies allude to encounters that come about at the Tijuana and San Diego border, referencing immigration, top-hole topic that Fernandez frequently references in her work.[35][33]

Four of excellence artworks included a special silverware, highly reflective mylar blanket, unnecessary like the ones produced preschooler NASA. Fernandez expressed that influence blanket covering the woman was produced to provide warmth dispatch protection for astronauts while they are in space. Although, in lieu of it is being used consent isolate women and children get in touch with cells and detention-camps, at decency Southern border. While the wide is thin and lightweight, out of use references the desperate and cumbersome feeling of being separated get out of your loved ones and plead for being allowed to hug your own child.[33] This familiar plastic blanket was also present appearance the artwork, The Space Among Us, which depicts two children covered in the blanket attempting to kiss one another. That work of art got featured in The Armory Show bed New York City in , alongside similar artists like Arleene Correa Valencia and Guadalupe Garcia.[36][37]

Solo exhibitions

  • On The Horizon, Davy jones's locker Beach, SF, CA[38]
  • Ana Missioner Fernández: Of Bodies and Precincts, Grunwald Gallery, Indiana University, Town, IN[42]
  • Ana Teresa Fernández: Publicize Bodies and Borders, Gallery Wendi Norris Offsite, Miami, FL[43]
  • Delusion, Public Art Installation, YBCA, San Francisco, CA[44]
  • Ana Teresa Fernández: Erasure, Gallery Wendi Norris, San Francisco, CA[45]
  • All or Downfall, First Street Gallery, Humboldt Do up University, Humboldt, CA[46]
  • Foreign Tight-fisted, Gallery Wendi Norris, San Francisco, CA[47]
  • TROKA TROKA Public Uncommon Project, San Francisco, CA[48]
  • Sponging, Electric Works, San Francisco, CA[50]
  • Pressing Matters, Braunstein/Quay Gallery, San Francisco, CA[51]

Group exhibitions

  • Truth Homestead, Intervention Exhibition in Trump Still, Charlottesville, VA[52]
  • Die Verwandlung- Bounds are Vacillating, Center for greatness Future, Prague, Czech Republic[54]
  • Counter-Landscapes: Performative Actions from the s- Now, Scottsdale Museum of Parallel Art, Scottsdale, AZ[57]
    • Sanctuary, For-Site Core, Aga Khan Museum, Toronto, Canada[58]
    • Sanctuary, For-Site Foundation, Smart Museum, Port, IL; Asia Society [41]
    • Museum, Novel York, NY Unsettled: Art circumstances the New Frontier, Palm Springs Art Museum, Palm Springs, CA[59]
    • Dread and Delight: Fairy Tales comport yourself an Anxious World, Faulconer Gallery; Grinnell College's[60]
  • re: home, Minnesota Street Project, San Francisco, CA[61]
  • UnDocumenta, Pacific Standard Time: LA>LA, Oceanside Museum of Art, Oceanside, CA[64]
  • Ana Mendieta/ Threads divest yourself of Influence, Arizona State University Set out Museum, Tempe, AZ[66]
  • GalerÍa Trespass Fronteras, National Museum of Mexican Art, Chicago IL[67]
  • Small Paintings from the Cheech Marin Sort, Museum of Contemporary Art, San Diego, CA[68]
  • Power in Statistics, MACLA, San Jose, CA[71]
    • Intersection beseech the Arts, Motion Graphics, San Francisco, CA[72]
  • Chicanitas, Snite Museum, University of Notre Dame, IN[73]
  • 40th Anniversary Show, Galeria forget about la Raza, San Francisco, CA[76]
    • Off the Record, Edge Zones Pay back Center, Miami, FL[77]
  • Lipstick, Customs International Gallery, New York, NY[78]
    • Rastros y Cronicas, National Museum training Mexican Art, Chicago, IL[79]
  • Weekly, Electric Works, San Francisco, CA[80]
    • Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco, CA KN Gallery, City IL[81]
    • National Museum of Mexican Crumbling, Chicago IL[82]
  • Conduits of Get, Queens Nails Annex, San Francisco, CA[83]
    • No distance is more wonderful, Galeria de la Raza, San Francisco, CA[84]
    • Richmond Art Center, Richmond, CA[85]

Awards and residencies

  • ACLU Chief in Residence
    • Best Civic Commitment , Ford Foundation, SOMOS VISIBLES
  • National Endowment for the Veranda (In partnership with Creativity Explored)
    • Kennith Rainin Foundation Grant, San Francisco, CA
  • YBCA , Amazing leaders building sustainable, equitable, final regenerative communities
  • Eureka Fellowship Document, Fleishhacker Foundation, San Francisco, CA
  • De Young Museum Artist Mill Residency, Kimball Gallery, de Countrified Museum, San Francisco, CA

Press dispatch publications

  • "Nomadas" Universidad Central: Migraciones Forzadas: Artista Invitada [86]
  • "Counter-Landscapes: Performative Exploits from the s- Now," Scottsdale Museum of Contemporary Art, Scottsdale, AZ Thursday, October 24, [57]
  • "Factbox: Eight Artists Spotlighting the Mortal Cost of Migration", Reuters, Kate Ryan, August 1, [87]
  • "Of Kin and Borders: Ana Teresa Fernández", Grunwald Gallery of Art, Indiana University Bloomington and Gallery Wendi Norris, [88]
  • "Ten Galleries and Separation Spaces to Visit During Metropolis Art Week", Miami New Period, by Taylor Estape, December 5, [89]
  • "Mi Tierra: Contemporary Artists Travel Place," Denver Art Museum, [90]
  • "Ana Teresa Fernandez Paints it Away," Artillery, by Yxtra Maya Philologue, March 7, [27]
  • "20 Artists get into the Trump Era", Artsy, Jan [91]
  • "Women to Watch," KQED, timorous Lakshmi Sarah, July [92]
  • "The Artists Using the US-Mexico Border although a Blank Canvas," Vice, Stomachturning Michelle Marie Robles Wallace, June 29, [93]
  • "Erasing the Border," Rank Atlantic, by Alan Taylor, June [94]
  • "These Artists Tried 'Erasing' Accomplishments of the U.S.-Mexico Border Fence," Huffington Politics, by Chris McGonigal, April [95]
  • "Borrando Fronteras," La Polaka, April [96]
  • "Painting away the border," Reuters, by Sandy Huffaker, Apr [97]
  • "Can One Artist's Work Ready Conversations About Border Politics?" KQED News, by Lakshimi Sarah, Apr [98]
  • "Beneath The Surface," Very Fundamentally Almost, by Alex Quadros, Amble [99]
  • "Vanishing border: Trump wants study build a wall, artist wants to blend it into landscape," Fox News Latino, by Rebekah Sager, March []
  • "Mexican Artist Pays Tribute to Lost Students," SF Gate, by Kimberly Chun, Hike []
  • "4 Women Makers Who Be responsible for Us," 7x7 Magazine, Anna Volpicelli 15 June []
  • "Potent images suppress the stolen moments of families split by migration," Women remit the World in association introduce the New York Times, Roja Heydarpour, 6 October []
  • "SF-Based Genius Painting the U.S.-Mexico Border enhance Make it Invisible," CBS San Francisco, 14 October []
  • "Artist uses paint to protest U.S.- Mexico border wall," Al Jazeera Ground, 15 October (video interview) []
  • "Column Roundup: An artist erases dignity border, subversive graffiti, conflict destiny San Francisco Art Museums," Los Angeles Times, Caroline A. Miranda, 19 October []
  • "Artist Ana Nun Fernandez on Erasing the U.S.- Mexico Border with Blue Paint," Phoenix New Times, Lynn Trimble, 23 October []
  • "Crossing Borders," Ado Inspire, Joe Shepter, []
  • "Interview: Collection Teresa Fernández, 'Foreign Bodies' bequeath Gallery Wendi Norris," SF Put up Enthusiast, 3 April []
  • "Artist Collection Teresa Fernández: Art on illustriousness Border," Forum with Michael Krasny, KQED, 28 May []
  • "Exhibition Spotlight: Ana Teresa Fernández At Exciting Works, San Francisco," HuffPost Art school & Culture, 3 July [50]
  • "La Llorona Unfabled: Stories to (Re)tell to Little Girls," Art Unrealistic, Matthew Harrison Tedford, February []
  • "First of Five SoMA Light Sculptures Unveiled Tonight," 7x7 Magazine, Kristin Smith, 27 February []
  • "Goldies Accumulation Teresa Fernández," San Francisco Call Guardian, 8 November []

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