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Carole A. Feuerman is recognized as a pioneering figure in the world of hyperrealist sculpture. Together with Hanson and De Andrea, Feuerman is one of the three leaders that started the Hyperrealism movement in the late seventies by making sculptures portraying their models in a life-like manner. Dubbed ‘the reigning doyenne of super-realism’ by art historian John T. Spike, Feuerman has solidified her place in art history.

Feuerman’s prolific career spans over four decades and seven continents. She has had nine museum retrospectives and four catalogue raisonnés published. Her works are exhibited in private collections, galleries, parks, and museums worldwide. She has exhibited four times in the prestigious Venice Biennale, as well as in Piazza della Repubblica in Florence, Palazzo Grazie, the Teatro Romano e Museo Civico in Fiesole, and the Musei di Rimini. She has exhibited in Harbour City of Hong Kong, the National Museum of China in Shanghai, and Huan Tai Hu Museum in the Jiangsu province of China. She has exhibited at the Clayarch Gimhae Museum, Daejeon Museum, and Suwon Museum in Korea. In Germany, she has exhibited at the Nassauischer Kunstverein Wiesbaden, as well as the Contemporary Art Museum in Aachen. In Spain, she exhibited at Museo de Bellas Artes de Bilbao and the Academia de Bellas Artes de Madrid. She has exhibited at Marco Museo de Arte Contemporáneo de Monterrey, and her work is currently on display in Denmark at the Arken Museum of Modern Art. Numerous public sculptures have been exhibited outdoors including Petrosino Square in New York City and the Frederik Meijer Sculpture Gardens in Grand Rapids, Michigan. One of Feuerman’s most recognizable pieces, 'The Golden Mean', is owned by the City of Peekskill, NY, and can be seen in Riverfront Green Park overlooking the Hudson River. Her monumental 'Double Diver', spiraling 36 feet in the air, is permanently sited in Silicon Valley and owned by the City of Sunnyvale, California.

In 2011, she founded the Carole A. Feuerman Sculpture Foundation. From 2016 to 2017, Feuerman has had solo shows at C24 Gallery in New York, KM Fine Art in Los Angeles, Aria Gallery in Florence and London, the DeLand Museum of Art in DeLand, Florida, Lotte Palace Hotel in New York, and the National Hotel in Miami for Art Basel. Her sculpture, 'The General’s Daughter', which she exhibited at the Smithsonian in Washington, D.C., was selected for the traveling museum exhibition called, 'Hyperrealist Sculpture 1973-2017'. The show originated in Bilbao, at the Museo de Bellas Artes and then traveled to the Contemporáneo Museo de Monterrey, Mexico. It is now at the Arken Art Museum in Denmark, and will be traveling to Australia. From February to May of this year, she had an important solo show, 'Perception, In the Eye of the Beholder’ at One Exchange Plaza in New York in partnership with C24 Gallery and the Chashama Foundation. From June through September she is having a joint exhibition at the Krasl Art Center in St. Joseph, Michigan. May 15th marked the opening of Personal Structures: Open Borders, with ten new outdoor works installed in the Giardini Marinaressa in Venice during the 2017 Venice Biennale. This exhibition was organized by GAA, hosted by the European Cultural Centre and sponsored by Bel-Air Fine Art. It will continue through December. Simultaneously to this, she has six other shows in Venice. Also, this June she is exhibiting in Kassel, Germany.

Her selected private collectors include the Emperor of Japan, President Bill Clinton and Secretary of State, Hillary Clinton, Norman Brahman, the Caldic Collection, Mark Parker, Ariella Wertheimer, Robert Hurst, and Malcolm Forbes.

You can keep up with her on Facebook, Instagram, Twitter, and on her website.


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Swimming and water have fascinated me for as long as I can remember, and as a result, have become the essence of my inspiration for my pieces. I loved the beach as a child and many of my fondest memories are of playing in the sand and jumping the waves at Jones Beach on Long Island. I remember with great detail how the delicate water droplets covered my arms and face after returning from a swim, and the patterns that formed on my skin captivated me. I noticed how the human figure radiates a healthy glow while in the water and coming out, and how the water seemed to rejuvenate the body while instilling a sense of harmony, both internally and externally. It was for these reasons that I started drawing swimmers in the second grade, and in the fifth grade, had asked my parents to sign me up for private art lessons on Saturdays. It was both the swimmers and the water that kept my attention from the beginning, and still to this day.

Since 1958, I have concentrated on swimmers and figures with water elements. Through my sculptures, I explore classicism and beauty, which are subjects that have been taboo in contemporary art. There is a conditioned, yet inaccurate, belief that "good" radical art has to reject something that is attractive and pleasing to the eye. I do not reject the concept of beauty, but embrace it. I see it, create it, and portray it with my swimmers, who show emotion, joy, grace, tranquility, and sensuality. They are peace loving, and sometimes pleasure loving. They are satisfied with life and moreover, they are survivors.

My swimmers have their own personalities and tell their own stories. Their stories are my stories, sometimes autobiographical and sometimes stories I just need to tell.  While their outward appearance is often one of beauty and tranquility, these elegant faces mask a deeper meaning of heroism, triumph, and liberation. Their titles are derived from islands around the world that I have visited and gained inspiration from over the years.  For example, in 1976, I went to the Isle of Capri, Italy, in the Mediterranean Sea and created a sculpture called "Capri" named after that special island. In 1979, inspired by the blue horizon of the Pacific Ocean, I envisioned a swimmer emerging like a phoenix from the sea with water droplets streaming across her face, which took form in my creation of "Catalina".  She appears as a proud survivor, beautiful, and strong. In 2005, I made a monumental version, “Grande Catalina”, which John Spike installed in the center of Florence, and that was the beginning of my major public sculptures. In 1981, I created "Innertube", a contemplative sculpture of a swimmer resting peacefully on an inflatable tube. This serene and meditative sculpture led me to create "Survival of Serena" for the 2006 Venice Biennale. She was named after the Island of Venice “the Serene Island” and was created in a monumental scale. One of my more recent pieces, "Next Summer", is named after a very special Island in Michigan called the Summer Island. I am currently working on “Double Diver”, a monumental forty-foot bronze male diver in a handstand with another diver holding his feet. While it isn’t named for an island, it speaks of persistence and the will to succeed, exemplifying integrity, trust and teamwork.

After 56 years of creating swimmers, I continue to be fascinated with the figure in the water with water patterns on them. I love the mechanics of water and its presence as an enduring symbol for life. The symbolism of water is far-reaching and profoundly deep. Water cleanses and purifies. Water touches all people, animals and things. Water connects one land to another. Water moistens and revives. I observe, photograph and sculpt swimmers because we are all swimmers.