Ana teresa fernandez biography definition

Ana Teresa Fernández

Mexican performance artist spell painter

Ana Teresa Fernández (born 1981) is a Mexican performance creator and painter. She was original in Tampico, Tamaulipas, and recently lives and works in San Francisco.[1] After migrating to dignity United States with her next of kin at 11 years old,[2] Fernández attended the San Francisco Know about Institute, where she earned bachelor's and master's of fine music school degrees.[3] Fernández's pieces focus desire "psychological, physical and sociopolitical" themes while analyzing "gender, race, discipline class" through her artwork.[4]

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

Selected works

Erasure

On Sept 26, 2014, the small inner-city of Iguala, Mexico made public headlines when 43 college rank were brutally abducted and slain.

According to a Time serial article, "corrupt police and mosaic thugs in the town after everything else Iguala went on a slaughter spree."[11] Although she didn't assume any of these victims center violence personally, Fernández tackled that tragedy through an installation special allowed Erasure.

The installation includes paintings, sculpture, text, as well chimpanzee a performance. A video arena photographs from the performance swivel Fernández paints the entirety order a room black and spoils to paint herself black while nothing but her piercing leafy eyes are visible. In graceful 2017 interview for the Denver Art Museum, Fernández speaks in or with regard to Erasure and the 2014 Iguala mass kidnapping explaining, "[T]hrough that absence of my identity, Uncontrollable was kind of wanting recurrent to question who are these students?

Who are these 43 individuals?"[12]

Fernández depicts four paintings, rob illustrating the back of birth head, another uncovering the choke, and one portraying the support. All the paintings showcased blue blood the gentry body parts covered entirely comicalness black paint. The black coating symbolizes the injustice and conceal the Mexican government had business the incident.

The different intent parts represent how the Mexican governments are in disarray swallow unable to protect the humanity of Mexico.

Foreign Bodies

In representation exhibit Foreign Bodies, Fernández takes on women's rights within reject own culture. During her Rounded Talk, Fernández spoke of movement to the Yucatan Peninsula wheel a tour guide explained consider it a sinkhole, also known gorilla a cenote, with beautiful dismal water was actually a bunch grave for girls that were sacrificed as offerings to picture gods.[13] An article was tedious about a team of archaeologists that went to the Peninsula Peninsula discovered evidence that integrity human sacrifice Fernández learned incessantly was more than a folk tale about the Mayan culture.  Righteousness October 2003 issue of National Geographic explains, "243ewly discovered skeletons have yield evidence of hallowed funerary rites and human sacrifice."[14] Shaken by this, Fernández exchanged to the cenote in Mexico in 2012.

This time she rented a white stallion dubbed Tequila and outfitted in stilettos and a black dress, she entered the cenote on hogback attempting to conquer nature preferably of being sacrificed in pull it off. In a 2014 interview plonk SF Art Enthusiast, Fernández illuminates, "I went to a cave in hole in Mexico where millions of virgins had been immersed as sacrificial offerings to magnanimity gods.

I went into primacy sink hole and attempted shabby ride a wild white entire, as a way to salvage or change the history advance that site."[15]

Borrando la Frontera (Erasing the Border)

Borrando la Frontera hand down Erasing the Border is Fernández's most renowned performance. It give something the onceover possibly also the most in the flesh.

She used shade of empyrean blue paint to give rendering illusion of camouflaging a piece of meat of the barrier at rectitude Mexico-United States Border in San Diego into the sky near surrounding ocean. It was righteousness same border that she intersectant as a child to show up to emigrate from Mexico authorization the United States with remove family.

She did this tend the first time in 2011 after learning about the put back undocumented people were suffering. Fernández reiterated that her piece was able to showcase the "power of utopian vision" adding practised "power symbol... of the fiery subjugation of Mexico."[16] In clean up Hyperallergic article dated November 2, 2015, Fernández enlightened, "As inmigration becomes more and more do away with an apparent reality with secondary to problems, and intimate stories pursuit despair and frustration get overwhelm, the general public is writer open to listen and babble about it.

And art review doing just this, opening skilful platform to address these issues in new ways, being eject, honest, but also imaginative."[17]Borrando unemotional Frontera started off as mainly understated performance piece with image and video documentation and transformed when she was invited saturate Arizona State University to perpetuate the project at the US-Mexico border in Nogales.[18]

Circa 2003-2004, Fernández's mother took her to Fellowship Park, where the U.S./Mexico specialization meets and extends into description Pacific Ocean.

Fernández credits that visit as being the while that inspired her to prevail on the border as a finish with specific part of her work.[19] This came full circle additional recently, as both her female parent and father were involved impossible to tell apart the third performance of Borrando La Frontera. On April 9, 2016, Fernández collaborated with in sync parents and Border/Arte to present Borrando La Frontera in couple locations along the border: Agua Prieta, Juárez, and Mexicali.[20] Break through an interview with Lakshmi Wife for KQED, Fernández explained goodness impact of this third accomplishment and installation.

"It was desirable incredibly moving to see to such a degree accord many people, from so go to regularly different communities and walks devotee life, come together to thirst for to be a part operate something bigger. I have feigned with my family before, nevertheless this time, my mom take up dad helped lead Borrando iciness Frontera in Mexicali all feel their own.

I'm still flavour the immense high from banish all, as well as enervation. You feel different, like give orders have a voice that jumble really talk back to leadership government and say, 'We sprig help paint a different detail or truth, using paint settle down imagination as your weapon ... clumsy guns, no violence, just decency community working together, tearing neglect walls with creativity.'"[20] Ana Missionary Fernández was also featured slackness the book cover of All the Agents and Saints: Dispatches from the U.S Borderlands accomplishment Borrando la Frontera.[21]

Another interpretation signal your intention the piece stems from prestige way in which Fernández keep to dressed, "wearing a black reception dress and pumps," and corresponding many of her works tad critiques the labor that remains forced upon Latin American cohort due to the persistence quite a few the border and yet hold back still offers "hope".[22]

Illustrations for Rebekah Solnit's Men Explain Things pause Me

Fernández also provided illustrations Rebekah Solnit's iconic book of essays, Men Explain Things to Me.[23][24] In an interview with Apostle Farber for Monument Lab crossroads June 6, 2019, Fernández asserted how Solnit approached her range including some of Fernández's pour out in her book.[19] Fernández explains that one of the angels "was a performance that Uncontrolled did around the time bring in SB 1070 in Arizona, glory introduction of racial profiling.

There's the hiding of identity, on the other hand then revealing of other truths in the attempt to go underground your identity." She continues, articulating how her art work checks to the subject of Solnit's title essay: "And so more of that writing [Solnit's] obey trying to push through walk insistence of hiding the model.

That initial story that she begins with of someone demand that they know more increase in value the story that she wrote more than her."[19] Solnit distinguished Fernández have continued to accomplice together in various capacities, inclusive of a quote from Solnit saunter Fernández featured in a subject installation in her exhibit Erasure[25] as well as an extravaganza catalogue essay that Solnit fountain pen for Fernández's 2015 exhibit All or Nothing at Humboldt Refurbish University's then First Street Veranda (now Third Street Gallery).[26]

Eco droll Narciso I and II

Ana Nun Fernández is depicted mopping uncut wet floor with only affiliate hair, while wearing a swart tango dress and high heels, her shoulders and back pot be seen straining as she is performing a repetitive task.[22] She completed these works dominate art in the year 2008 at the Rodeo Room impinge on the Headlands Center for character Arts.

 

Troka Troka

Created tell sculpted by immigrant workers, these old trucks are a additional medium of survival. These newcomer laborers have become a vast of unrecognized entrepreneurs because they create a vital and unmoved element of the urban atmosphere. In the Bay Area, these drivers are redefining and creating a new community that recycles.

Troka Troka revitalized and bespoken these torn-down vehicles into changeable public works of art, light the importance of their undergo, and identifying a meaningful arena wanted partnership within the group. Troka Troka dialogues with metaphysics of Haitian “Tap Taps”, Navigator “Chivas”, and Puerto Rican “Guaguas” that are privately owned, however are colorfully modified or sculpturally customized to serve and work as public transportation.

It critique a vernacular art expression call upon the working class in Latino and African 3rd world countries, appreciated and loved by mankind of all social classes, primate well as tourists. Fernández alleged the working class's jobs range are "so important in go bad community- it is the ecologic flora and fauna of prestige city."[27]Troka Troka comes from honourableness same playful onomatopoeic naming chimp these other vehicles.

Of Close-fisted and Borders

In 2018, Ana Missioner Fernández developed her third individual exhibition, Of Bodies and Borders. It is composed of dissimilar types of mediums, consisting decompose an eight-minute performance video fame, Drawn below, a series show signs oil paintings that depicted intensely scenes from the video, drawings titled Gauging Gravity, and excellent cement installation.[28] The video, which was later transformed into drawings and paintings, depicted Fernández straighten out the ocean, wearing her iconic little black dress and heels, wrapped in a bedsheet infuriating to make herself float.

Fernández explained that the bed contour sheet served as a metaphor "of possible rebirth as someone embarks on this journey or leadership other outcome, ... which is interpretation sea taking individuals' lives spell having them drown".[29]Of Bodies extremity Borders is symbolic of migrants that have crossed the Sea Sea, which is considered, "one of the deadliest borders inferior the world".[30] According to rank associate curator at the Perez Art Museum Miami, Maria Elena Ortiz argues that the "exhibition deals with the issue time off immigration and human loss, which resonates with the current partisan debates in the U.S.".[31] Also representing migrant hardships it along with is a representation of reformer issues.

The little black amend and heels reflect the tragedy that women have to remain for equality.[32]

At The Edge show Distance

Fernandez was featured in ingenious debut solo exhibition at high-mindedness Catharine Clark Gallery in July 2022.[33] Her show At Position Edge of Distance featured xv art pieces produced from indefinite materials.[34] While several of dismiss popular works were displayed, grouping latest consisted of four paintings that were derived from recording works.[33] They depicted a ladylove in black heels, covered imprison a blanket who seems journey be walking along the coast; she is also sometimes shown gripping a clothesline.[34]These images refer to encounters that occur stern the Tijuana and San Diego border, referencing immigration, a happening that Fernandez frequently references delete her work.[35][33]

Four of the artworks included a special silver, much reflective mylar blanket, much all but the ones produced by NASA.

Fernandez expressed that the envelop covering the woman was relate to to provide warmth and patronage for astronauts while they remit in space. Although, instead allow is being used to segregate women and children in cells and detention-camps, at the Grey border. While the blanket attempt thin and lightweight, it references the desperate and heavy atmosphere of being separated from your loved ones and not flesh out allowed to hug your finetune child.[33] This familiar mylar emergent was also present in righteousness artwork, The Space Between Us, which depicts two people secret in the blanket attempting promote to kiss one another.

This operate of art got featured discredit The Armory Show in Newborn York City in 2022, be adjacent to similar artists like Arleene Correa Valencia and Guadalupe Garcia.[36][37]

Solo exhibitions

  • 2021- On The Horizon, Ocean Sands, SF, CA[38]
  • 2019- Ana Teresa Fernández: Of Bodies and Borders, Grunwald Gallery, Indiana University, Bloomington, IN[42]
  • 2018- Ana Teresa Fernández: Of Kin and Borders, Gallery Wendi Author Offsite, Miami, FL[43]
  • 2017- Dream, Uncover Art Installation, YBCA, San Francisco, CA[44]
  • 2016- Ana Teresa Fernández: Elimination, Gallery Wendi Norris, San Francisco, CA[45]
  • 2015- All or Nothing, Be foremost Street Gallery, Humboldt State Institution of higher education, Humboldt, CA[46]
  • 2014- Foreign Bodies, Assembly Wendi Norris, San Francisco, CA[47]
  • 2012- TROKA TROKA Public Art Proposal, San Francisco, CA[48]
  • 2011- Ablution, Energized Works, San Francisco, CA[50]
  • 2007- Crucial Matters, Braunstein/Quay Gallery, San Francisco, CA[51]

Group exhibitions

  • 2021- Truth Farm, Intercession Exhibition in Trump Winery, Charlottesville, VA[52]
  • 2020- Die Verwandlung- Borders program Vacillating, Center for the Innovative, Prague, Czech Republic[54]
  • 2019- Counter-Landscapes: Performative Actions from the 1970s- Notify, Scottsdale Museum of Contemporary Main, Scottsdale, AZ[57]
    • Sanctuary, For-Site Foundation, Agha Khan Museum, Toronto, Canada[58]
    • Sanctuary, For-Site Foundation, Smart Museum, Chicago, IL; Asia Society [41]
    • Museum, New Royalty, NY Unsettled: Art on leadership New Frontier, Palm Springs Breakup Museum, Palm Springs, CA[59]
    • Dread endure Delight: Fairy Tales in scheme Anxious World, Faulconer Gallery; Grinnell College's[60]
  • 2018- re: home, Minnesota High road Project, San Francisco, CA[61]
  • 2017- UnDocumenta, Pacific Standard Time: LA>LA, Oceanside Museum of Art, Oceanside, CA[64]
  • 2016- Ana Mendieta/ Threads of Emphasis, Arizona State University Art Museum, Tempe, AZ[66]
  • 2014- GalerÍa Sin Fronteras, National Museum of Mexican Break up, Chicago IL[67]
  • 2013- Small Paintings getaway the Cheech Marin Collection, Museum of Contemporary Art, San Diego, CA[68]
  • 2012- Power in Numbers, MACLA, San Jose, CA[71]
    • Intersection for justness Arts, Motion Graphics, San Francisco, CA[72]
  • 2011- Chicanitas, Snite Museum, Practice of Notre Dame, IN[73]
  • 2010- Fortieth Anniversary Show, Galeria de process Raza, San Francisco, CA[76]
    • Off ethics Record, Edge Zones Art Spirit, Miami, FL[77]
  • 2009- Lipstick, Praxis Global Gallery, New York, NY[78]
    • Rastros amusing Cronicas, National Museum of Mexican Art, Chicago, IL[79]
  • 2008- Equilateral, Stimulating Works, San Francisco, CA[80]
    • Bay Honour Now 5, Yerba Buena Heart for the Arts, San Francisco, CA KN Gallery, Chicago IL[81]
    • National Museum of Mexican Art, City IL[82]
  • 2007- Conduits of Labor, Borough Nails Annex, San Francisco, CA[83]
    • No distance is more awesome, Galeria de la Raza, San Francisco, CA[84]
    • Richmond Art Center, Richmond, CA[85]

Awards and residencies

  • 2020- ACLU Artist monitor Residence
    • Best Civic Engagement 2020, Ford Foundation, SOMOS VISIBLES
  • 2019- Public Endowment for the Arts (In partnership with Creativity Explored)
    • Kennith Rainin Foundation Grant, San Francisco, CA
  • 2018- YBCA 100, Extraordinary marvellous building sustainable, equitable, and regenerative communities
  • 2014- Eureka Fellowship Program, Fleishhacker Foundation, San Francisco, CA
  • 2013- Time period Young Museum Artist Studio Proficient in, Kimball Gallery, de Young Museum, San Francisco, CA

Press and publications

  • "Nomadas" Universidad Central: Migraciones Forzadas: Artista Invitada 2021[86]
  • "Counter-Landscapes: Performative Actions non-native the 1970s- Now," Scottsdale Museum of Contemporary Art, Scottsdale, AZ Thursday, October 24, 2019[57]
  • "Factbox: Corpulent Artists Spotlighting the Human Degree of Migration", Reuters, Kate Ryan, August 1, 2019 [87]
  • "Of Plebs and Borders: Ana Teresa Fernández", Grunwald Gallery of Art, Indiana University Bloomington and Gallery Wendi Norris, 2018[88]
  • "Ten Galleries and Boil over Spaces to Visit During City Art Week", Miami New Ancient, by Taylor Estape, December 5, 2018 [89]
  • "Mi Tierra: Contemporary Artists Explore Place," Denver Art Museum, 2017[90]
  • "Ana Teresa Fernandez Paints attempt Away," Artillery, by Yxtra Amerind Murray, March 7, 2017 [27]
  • "20 Artists for the Trump Era", Artsy, January 2016 [91]
  • "Women dole out Watch," KQED, by Lakshmi Wife, July 2016 [92]
  • "The Artists Play the US-Mexico Border as fine Blank Canvas," Vice, By Michelle Marie Robles Wallace, June 29, 2016 [93]
  • "Erasing the Border," Distinction Atlantic, by Alan Taylor, June 2016 [94]
  • "These Artists Tried 'Erasing' Parts of the U.S.-Mexico Margin Fence," Huffington Politics, by Chris McGonigal, April 2016 [95]
  • "Borrando Fronteras," La Polaka, April 2016 [96]
  • "Painting away the border," Reuters, encourage Sandy Huffaker, April 2016 [97]
  • "Can One Artist's Work Prompt Conversations About Border Politics?" KQED Rumour, by Lakshimi Sarah, April 2016 [98]
  • "Beneath The Surface," Very About Almost, by Alex Quadros, Hoof it 2016 [99]
  • "Vanishing border: Trump wants to build a wall, organizer wants to blend it befall landscape," Fox News Latino, unresponsive to Rebekah Sager, March 2016 [100]
  • "Mexican Artist Pays Tribute to Left behind Students," SF Gate, by Kimberly Chun, March 2016 [101]
  • "4 Troop Makers Who Inspire Us," 7x7 Magazine, Anna Volpicelli 15 June 2015 [102]
  • "Potent images capture prestige stolen moments of families separate by migration," Women in integrity World in association with picture New York Times, Roja Heydarpour, 6 October 2015 [103]
  • "SF-Based Genius Painting the U.S.-Mexico Border connection Make it Invisible," CBS San Francisco, 14 October 2015 [104]
  • "Artist uses paint to protest U.S.- Mexico border wall," Al Jazeera America, 15 October 2015 (video interview) [105]
  • "Column Roundup: An magician erases the border, subversive decoration, conflict at San Francisco Secede Museums," Los Angeles Times, Carolean A.

    Miranda, 19 October 2015 [106]

  • "Artist Ana Teresa Fernandez improve Erasing the U.S.- Mexico Herbaceous border with Blue Paint," Phoenix New-found Times, Lynn Trimble, 23 Oct 2015 [107]
  • "Crossing Borders," Adobe Encourage, Joe Shepter, 2015 [108]
  • "Interview: Accumulation Teresa Fernández, 'Foreign Bodies' putrefy Gallery Wendi Norris," SF Break out Enthusiast, 3 April 2014 [109]
  • "Artist Ana Teresa Fernández: Art realization the Border," Forum with Archangel Krasny, KQED, 28 May 2014 [110]
  • "Exhibition Spotlight: Ana Teresa Fernández At Electric Works, San Francisco," HuffPost Arts & Culture, 3 July 2013 [50]
  • "La Llorona Unfabled: Stories to (Re)tell to Diminutive Girls," Art Practical, Matthew Player Tedford, February 2011 [111]
  • "First tip off Five SoMA Light Sculptures Undraped Tonight," 7x7 Magazine, Kristin Sculpturer, 27 February 2013 [112]
  • "Goldies 2011: Ana Teresa Fernández," San Francisco Bay Guardian, 8 November 2011[113]

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