BIOGRAPHY

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“Carole A. Feuerman is acknowledged, alongside Duane Hanson and John D'Andrea, as one of the three major American hyperrealist sculptors that started the movement in the 1970’s. 

Feuerman’s career spans over four decades and four continents. Through her sculptures, she creates visual manifestations of the stories she wants to tell, of strength, survival, and balance. She has taught, lectured, and given workshops at the Metropolitan Museum of Art, the Solomon Guggenheim Museum, Columbia University, and Grounds for Sculpture.  In 2011, she founded the Carole A. Feuerman Sculpture Foundation. Her work was included in An American Odyssey 1945-1980 with the most prominent artists of the American Post-WWII era.  A comprehensive one-person show in 2005 was held at the QCC Art Museum/CUNY titled Resin to Bronze Topographies with catalogue essays authored by critics John Yau and Donald Kuspit. It was followed by the installation of her work at the prestigious Grounds for Sculpture in New Jersey. Feuerman has had solo museum retrospectives at the El Paso Museum in Texas, the Huan Tai Hu Museum of Jiangsu Province in China, the Clayarch Gimhae Museum, Daejeon Museum, and the Suwon Museum’s in Korea.  In 2009, she exhibited her sculpture Moran in the Palazzo Strozzi in Florence in a show called Art of Illusions, Masterpieces of Tromp L’oeil from Antiquity to the Present. In 2013, her sculpture, The General’s Daughter was exhibited at the National Portrait Gallery in the Smithsonian Institution, Washington, DC. Her sculpture Monumental Quan was exhibited in the Frederik Meijer Sculpture Garden in Grand Rapids, Michigan. In 2007, Feuerman had a solo exhibition in Venice called Bellezza E Beressaze: By the Sea, during the Venice Biennale, featuring her monumental sculpture Survival of Serena for the first time. It was curated by John T. Spike. In 2008, Survival of Serena was chosen ‘Best in The Show’ at the Beijing Biennale and was exhibited at the National Museum of China. It was shown again in 2017 at her solo show in Giardini Marinaressa for Personal Structures – Open Borders, one of many collateral exhibitions at the Venice Biennale.  In 2013, it was chosen by New York City Department of Parks & Recreation for exhibition in Soho, New York and in 2017 it was exhibited in Central Park for their celebration of 50 Years of Public Art in NYC Parks. In 2018, it was exhibited again at her solo exhibition at Sculpture Link in Knokke-Heist, Belgium. Her iconic sculptures, Catalina and The General’s Daughter, are traveling in a group show titled 50 Years of Hyperrealistic Sculpture. The show originated in 2016 at Museo de Bellas Artes de Bilbao, Spain and then traveled to the Academia de Bellas Artes in Madrid, to the Marco Museo de Arte Contemporáneo in Monterrey, to Denmark’s Museum of Modern Art, the National Gallery of Art in Sydney, the Kunsthal Tübingen in Germany, the Heydar Aliyev in Azerbaijan and is now at The National Chiang Kai-Shek Memorial Hall in Taipei, Taiwan. Feuerman’s sculpture The Golden Mean, is owned by the City of Peekskill, New York and installed in Riverfront Green Park.  Her monumental Double Diver, spiraling 36 feet in the air, is owned by the City of Sunnyvale, California.

Her art is included in the collections of the President and Senator Hillary Rodham Clinton, the Frederic R. Weisman Art Foundation, Dr. Henry Kissinger, the Michael Gorbachev Art Foundation, the Malcolm Forbes Magazine Collection, the Metropolitan Museum of Art, and the State Hermitage in Russia. Feuerman's selected awards include Best in Show at the Third International Beijing Art Biennale, Beijing, CN, the 2001 Lorenzo De Magnifico Award for the Biennale Internazionale: Dell'Arte Contemporanea in Florence, Italy, The Prize of Honor in 2002 for the Ausstellungszentrum Heft in Huttenberg, Austria, and the Medici Prize awarded by the City of Florence.  

Selected critical press include: "In the Swim: Carole A. Feuerman's Sculptures Stay in Shape," by John T. Spike, May 2005, Art & Antiques Magazine, in 2012 in the New York Times in an article by Susan Hodara, “Hudson- Inspired Art, Popping Up All Over”, the Forward in  2017 by Michael Kramer, “In Trumps America, It’s Hard To Be a Realist”, and “How China Gave Sculpture’s Queen of Hyperrealism Carole A. Feuerman One of her First Breaks” in the South Morning Post by Kavita Daswani. 

There are four full-color monographs written about her work, including a new full color catalogue raisonné by Scheidegger & Spiess. Her first swimmer sculpture, Catalina is included in A History of Western Art, published by Harry N. Abrams, and written by Anthony Mason and John T. Spike. You can see her work in museums, as well as private and public collections worldwide. Feuerman is married with three children and six grandchildren. She lives and works in New York City.”

Stephen Foster, Ph.D., Art Historian

Artist Statement

 Through my sculptures I convey my feelings about life and art. It is far easier for me to express my emotions through sculpture than through words. I portray the inner life of each image I create in order to capture the passion and sensuality of my subject. In this way, my work speaks to the viewer, evoking both an emotional and an intellectual response. 

 My early hyper-realistic sculptures invite the audience to contemplate the intriguing dichotomy of realty in life and art. While my current work in metal is inspired by the idealized forms of ancient civilizations, in my trompe-l'oeil works, figures are portrayed as fragmented reality. Although only a portion of the body is presented, extensive detailing makes each figure come to life. In contrast, the classical subjects of my work in metal are realized through a technique I developed for dripping and pouring molten materials. 

 Throughout my artistic career, my style has undergone many transformations, but my passion for art and my love of creating art endure. 

 Carole A. Feuerman 

 

Through my sculptures I convey my feelings about life and art. It is far easier for me to express my emotions through sculpture than through words. I portray the inner life f each image I create in order to capture the passion and sensuality of my subject. In this way, my work speaks to the viewer, evoking both an emotional and an intellectual response. 

My early hyper-realistic sculptures invite the audience to contemplate the intriguing dichotomy of realty in life and art. While my current work in metal is inspired by the idealized forms of ancient civilizations, in my trompe-l'oeil works, figures are portrayed as fragmented reality. Although only a portion of the body is presented, extensive detailing makes each figure come to life. In contrast, the classical subjects of my work in metal are realized through a technique I developed for dripping and pouring molten materials. 

Throughout my artistic career, my style has undergone many transformations, but my passion for art and my love of creating art endure. 

Carole A. Feuerman