"New York based, celebrated artist 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 at the QCC Art Museum/CUNY titled Resin to Bronze Topographies, with catalogue essays authored by critics John Yau and Donald Kuspit, was followed by the installation of her work at the prestigious Grounds for Sculpture. Feuerman has had multiple solo museum retrospectives held at the El Paso Museum and the Huan Tai Hu Museum of Jiangsu province to name a few. In 2009, she exhibited her sculpture Moran at the Palazzo Strozzi in Florence in a show calledArt of Illusions, Masterpieces of Tromp L’Oeil from Antiquity to the Present, and in the Smithsonian Institution’s Portrait Gallery. In 2013, her sculptureThe General’s Daughter was chosen for inclusion in the Outwin Boochever Portrait Competition, National Portrait Gallery, Smithsonian Institution, Washington, DC. Her sculpture Monumental Quan was first publicly exhibited in the Frederik Meijer Sculpture Gardens in Grand Rapids, Michigan, and later in Giardini Marinaressa for Personal Structures – Open Borders, one of many collateral exhibitions during the 2015 Venice Biennale in 2017, her sculpture Survival of Serena was chosen by New York City Department of Parks & Recreation for exhibition in Soho New York and in Central Park for their celebration of 50 Years of Public Art in NYC Parks. It was also shown in 2007 in her solo exhibition in Venice called By the Sea, curated by John T. Spike, during the Venice Biennale. Feuerman has also exhibited in Hong Kong, the National Museum of China, and in Korea at the Clayarch Gimhae Museum, Daejeon Museum, and Suwon Museum. In 2018, she had a two person show at SculptureLink in Knokke, 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 at Museo de Bellas Artes de Bilbao, then traveled to the Academia de Bellas Artes in Madrid, then to the Marco Museo de Arte Contemporáneo in Monterrey, on to Denmark’s Museum of Modern Art, the National Gallery of Art in Sidney, the Kunsthal Tübingen in Germany, and is currently at the Heydar Aliyev in Azerbaijan. The show is next scheduled to travel to Asia. Feuerman’s sculpture, The Golden Mean, is owned by the City of Peekskill, NY, at the Riverfront Green Park and her monumentalDouble Diver, spiraling 36 feet in the air, is owned by the City of Sunnyvale, California. This year from May 10th - November 24th, Feuerman will again have a show in Giardini Marinaressa during the 2019 Venice Biennale.
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 Gorbachov 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 in the May 2005 Art & Antiques Magazine, in the New York Times in 2012, in an article by Susan Hodara, Hudson- Inspired Art, Popping Up All Over, in the Forward, 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: Carole Feuerman Sculpture, both editions published by Hudson Hills Press; La Scultura Incontra la Realtà, available in multiple languages; and Swimmers, published by The Artist Book Foundation. 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. Dubbed ‘the reigning doyenne of super-realism’ by art historian John T. Spike, Feuerman has solidified her place in art history.”
Feuerman is married with 3 children and 5 grandchildren. She lives in New York City.
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