Conceived as an intergenerational conversation between two artists, “Teresita Fernández/Robert Smithson” considers themes of place, site, and agency. It’s on view at Site Santa Fe through October 28.
For most of her life, Teresita Fernández had encountered in person as many artworks by Land Art trailblazer Robert Smithson as most people had—which is to say, zero. “For most of us, the little we know of Robert Smithson is that bad picture in art-history books of Spiral Jetty, which is really little and in grainy black and white,” says the Brooklyn-based artist of Smithson’s seminal site-specific 1970 earthwork in Utah’s Great Salt Lake, which came to epitomize Land Art.
I feel like my practice is like that, so that was very inspiring.” Smithson’s concepts of Sites and Nonsites were especially influential on Fernández, as they were for generations of artists. The exhibition opens on a note of agreement, with Smithson’s A Nonsite —trapezoidal bins filled with limestone from a New Jersey mine—alongside Fernández’s Viñales , featuring pieces of malachite from the Democratic Republic of Congo cascading down trapezoidal pedestals.
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