New York

What's it like to start out at Carole A. Feuerman's studio? by Carole Feuerman

A new intern started at my New York studio this week.  Craig is a graduate of Pratt in Brooklyn, where he studied product design, and he’s going to be gaining experience doing both writing and fabrication work for the studio.  I asked him to write a post about how his first week here has been:

I have worked a lot of different kinds of jobs.  I grew up in Scotland and Ohio, and ever since I moved to New York six years ago it’s been non-stop hustle.  Working for Carole so far has been validating because it feels like the different kinds of work and education I’ve landed in could all be useful in some way here.  Beyond that, her studio is a place where I’m going to have the chance to expand a lot of different skills that I’ve only been able to dip my toes into before.  Instead of spending all day yelling at tourists for the East River Ferry or getting paid under the table to package toffees Uptown, here I get to engage with the art world both as someone who can think and write about the work of a groundbreaking sculptor like Carole and who can work with my hands with the team that realizes her ideas.

Getting down to business with  Survival of Serena.

Getting down to business with Survival of Serena.

Last week I translated Carole’s bio into German, my family language, and Greek, which I learned while attending a university in Athens for a year.  Translating an artist’s biography is a more difficult linguistic task than I expected it to be!  In Greek, I immediately ran into the problem that a direct translation of hyperrealism, “υπερρεαλισμός,” is a word that’s used in Greek to refer to the Surrealist movement of the early 20th century.  It took research on Greek art blogs that talked about Carole and her contemporaries to find out that the movement that she helped pioneer is usually referred to by its English name in Greek to avoid confusion.

In German, there was a different set of obstacles.  German has a lot of what are known as false friends: words that sound the same in German and English but have subtly different uses between the languages.  When I sent my draft to my papa to proofread, he had to remind me that while English uses the word sculpture for both the field of making sculptures and the sculptures themselves, Skulptur in German only refers to the art object produced and the field is usually called Bildhauerkunst.  Luckily these obstacles are enjoyable to overcome; by comparing the way words and ideas are talked about in different languages, it becomes more possible to precisely grasp the ideas themselves and the meaning that underlies the communication mode you’re employing.

In the end, this is one of the exciting things about art as a communication method.  The art objects that Carole produces are ways of producing a dialogue that you would conduct very differently in English or Greek.  That’s been the other engaging thing about beginning work in this studio: the chance to interact intimately with Carole’s work.

This week I waxed a giant inflatable swan at Mana Contemporary in New Jersey, and buffed up giant women to get them ready to show.  In New York, I worked on chasing a cast of a new sculpture and taping up a Balance to be ready for painting.  Spending more time with these sculptures makes room for the strangeness of the studio to sink into me bit by bit: beautiful figures surrounded by disembodied limbs everywhere, crates full of people, scale shifts that leave you unsure if you’re a giant or an ant.  My coworkers switching back and forth unconsciously between calling the sculptures hers, hims, and its.  Watching a models face get consumed by casting goop.  Getting spooked by the bronze bust of a man that I see behind me in the mirror every time I open the bathroom door.

Heath works on  Midpoint.

Heath works on Midpoint.

I talked with the studio team a little about the surreality of the space, and according to them everyone adjusts to it eventually.  The works are their profession, they have to be rationalized and understood practically so that they can be produced to the highest quality.  I understand the necessary trade off, but for now I’m in love with the contrasts in this space, the fantastic interior reality of this artist’s studio invisible to the satellites passing overhead.  I’m thrilled to have the next three weeks of this internship in this space.

—Craig Hartl

Carole Feuerman In Venice at Giardino Della Marinaressa In the Context of the Venice Biennale by Grace Chen

After four nail-biting weeks of shipping delays, customs clearance problems, passports and visa paperwork for each traveling sculpture, Carole is on the move again: this time, back to Venice for a solo show at the Giardino Della Marinaressa, by the Venice Biennale.

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Carole A. Feuerman 2015 Global Exhibitions by Carole Feuerman

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Kendall Island  , 2014. Oil on Resin. 770 x 21 x 38 inches.

Kendall Island, 2014. Oil on Resin. 770 x 21 x 38 inches.

Carole A. Feuerman is recognized as one of the world’s most renowned, influential, and popular hyperrealist sculptors.  Her prolific career spans four decades in which she has pioneered new approaches to sculpture. 

In May, the Double Diver, Feuerman's monumental sculpture towering 36 feet in the air, was installed at NetApp’s headquarters and gifted to the city of Sunnyvale, California. 

Using the innovative technique of dripping molten bronze and utilizing the ability to make 4,800 pounds of bronze balance on six-inch bronze wrists, she pushed the boundaries of both art and physics; creating a sculpture that is truly the first of its kind. 


 

Feuerman is currently exhibiting in Personal Structures, Time Space Existence, Global Art Affairs Foundation, which is part of this year's 2015 Venice Biennale in Italy.

Her solo exhibition, Art in Harbour City, Hong Kong just closed and the sculptures are now going to be touring Asia. They will be shown next at the Daejeon Museum of Art in Daejeon, South Korea in a hyperrealism exhibition opening on Sept 4th. After that they will be exhibited at a museum in the capital city of Seoul.

 

Asia,   1999. Bronze. 83 x 31 x 15 inches.

Asia, 1999. Bronze. 83 x 31 x 15 inches.

Her work is currently on exhibit in a solo show at KM Fine Art in Chicago. 

On August 22nd she is having an outdoor sculpture show at Gerson Zevi Gallery in Water Mill, NY in the Hamptons featuring 13 outdoor bronzes. 

Christina  , 2014. Oil on Bronze. 72 x 19 x 14 inches.

Christina, 2014. Oil on Bronze. 72 x 19 x 14 inches.

October 9th is the opening of another solo show at Hubner & Hubner Gallery in Frankfurt, Germany.

Aria Gallery from Florence, will open their new space in London in mid October with a 2 person show featuring Feuerman.

In the spring of 2016 she will have a New York Solo show and a solo show at the in the DeLand Museum in Florida. 

 

Next Summer  , 2012. Oil on Bronze. 39 x 54 x 50 inches.

Next Summer, 2012. Oil on Bronze. 39 x 54 x 50 inches.

She continues to focus on making figurative sculptures for public and private collections. Feuerman maintains two studios in NY and NJ. On an ongoing basis, Feuerman's work can be seen in selected galleries and museums worldwide.

 

Carole Feuerman's 2015 IS Day Open Studio Rocked & MANA Lobby Exhibition Happpening Now! by Carole Feuerman

The White Stripes’ music blasted through speakers from Mana’s fourth floor café directly across from Carole Feuerman’s open IS Day studio.

Jack White’s howling guitar was the perfect opening serenade for the chorus of Carole’s sculptures basking in hyper-real, pulse racing resurrection.

 

During International Sculpture Day at Mana Contemporary in Jersey City, Carole’s Studio was a phantasmagoria of hyper-real shimmering swimmers in prime condition and polished to perfection.  

Free refreshments were served and the crowd gathered to get up close, ultra-access to see Carole’s glowing, sculpted, bodies that flawlessly mirror the human form.

 

Nude Coming Through the Wall,   1991. Oil on Resin. 58 x 15 x 5 inches.

Nude Coming Through the Wall, 1991. Oil on Resin. 58 x 15 x 5 inches.

Christina,   2014. Oil on Resin. 72 x 19 x 14 inches.

Christina, 2014. Oil on Resin. 72 x 19 x 14 inches.

There are certain calendar events that you would kick yourself for missing. Carole’s IS Day celebration at MANA Contemporary was definitely one of those happenings and people knew it. Many took off work, while others drove in from out of state!

 

 

Mana Café   across from CF's studio.

Mana Café across from CF's studio.

 

If you were at the event and found yourself talking to one of Carole’s hyper-realistic sculptures by accident, don’t worry you’re not alone. One gentleman even humorously confessed his feelings for a sculpture as he took a photo, “You don’t have eyes, but I love you.”

 

City Slicker  , 2013. Painted Bronze. 63 x 35 x 28 inches.

City Slicker, 2013. Painted Bronze. 63 x 35 x 28 inches.

Butterfly  , 2008. Oil on Resin. 21 x 22.5 x 21 inches.

Butterfly, 2008. Oil on Resin. 21 x 22.5 x 21 inches.

Mana Contemporary is a cultural center in Jersey City, New Jersey.

Opened in May 2011, the center provides services, spaces, and programming for artists, collectors, curators, performers, students, and community. It is conveniently located at 888 Newark Ave, Jersey City.

Once an old Tobacco Factory, the massive space has been turned into a beacon of artistic excellence that beckons all to explore its labyrinth of bold works.

 

Mana,  2015.

Mana, 2015.

Mana champions sculpture and on IS Day there were over a hundred artist studios open to the public! This free event drew loads of people and as they came through Mana’s doors they were immediately immersed in Carole Feuerman's Lobby Exhibition!

Carole’s Sculptures including, Kendall Island, Next Summer, Diver, and Mona Lisa are the perfect introduction to MANA!

Her dedicated efforts, visible in every hyper-real detail, speak to the aesthetic exertions of her fellow impassioned legions of artists at Mana Contemporary. The building is united in diverse, active creating.

Carole is excited that her Swimmers are on display at her second studio home and will act as welcoming beacons!

Carole’s Sculptures including:   Kendall Island  ,   Next Summer  ,   Diver  , and   Mona Lisa.

Carole’s Sculptures including: Kendall Island, Next Summer, Diver, and Mona Lisa.


Next Summer  , 2012. Oil on Resin. 39 x 54 x 50 inches.

Next Summer, 2012. Oil on Resin. 39 x 54 x 50 inches.

Monumental Brooke with Beach Ball  , 2013. Oil on Bronze. 42 x 60 x 45 inches.

Monumental Brooke with Beach Ball, 2013. Oil on Bronze. 42 x 60 x 45 inches.

Kendall Island  , 2014. Oil on Resin. 70 x 21 x 38 inches.

Kendall Island, 2014. Oil on Resin. 70 x 21 x 38 inches.

 Carole's newest innovation is Kendall's elevated diving board pedestal.

She was inspired after seeing Kendall Island installed on a custom made six foot pedestal in New Orleans as part of the year long Poydras Corridor Sculpture Exhibit.

Kendall’s elevation was especially compelling and Carole wanted to give her that same engaging presence at Mana.

The Lobby Exhibition will run through July.

Diver  , 2011. Oil on Bronze. 77 x 25 x 11 inches.

Diver, 2011. Oil on Bronze. 77 x 25 x 11 inches.

Carole Feuerman in Italy: Aria Gallery Show and the 2015 Venice Biennale! by Carole Feuerman

Longtime friend to Carole A. Feuerman, Gianluca Bisol recently visited Carole’s NYC and New Jersey studios and was delighted to see new works as well as classic favorites! 

 

Mr. Bisol is the President & CEO of the company that bears his family's name. Bisol has been producing world famous Prosecco wines since 1875.

 

Gianluca has been a passionate sponsor of several of Carole's exhibitions including: exhibitions held at the Moretti Gallery, Jim Kempner Fine Art, and past Venice Biennales to name a few.

Infinity    , 2013. Oil on Resin with Stainless Steel and Swarovski Crystals. 38 H x 37 W x 21 D inches.

Infinity, 2013. Oil on Resin with Stainless Steel and Swarovski Crystals. 38 H x 37 W x 21 D inches.

Gianluca Bisol is generously and enthusiastically sponsoring both of Carole’s upcoming exhibitions in Italy:  Shapes of Reality at Aria Gallery in Florence as well as Time-Space-Existence presented by Personal Structures by Global Art Affairs, as part of the 2015 Venice Biennale!

 

Next Summer,     2012. Oil on Resin. 39 H x 54 W x 50 D inches.

Next Summer, 2012. Oil on Resin. 39 H x 54 W x 50 D inches.

Carole’s Solo Show “Shapes of Reality” will be on view at The Aria Gallery in Florence from May 1st to June 20th.

Aria’s spaces are located at Borgo SS Apostoli 40r - Florence!

Curator Antonio D’Amico writes, “Feuerman shapes the soul of sculptures.” The Aria Gallery show reflects Carole’s return to the ideals of the Renaissance as she examines the exquisite elegance hidden behind each shape of the human body.

She celebrates the human form by capturing emotions and gestures. D’Amico advocates the notion that Carole’s superb hyper-realism is so successful that she has “become a competitor against nature.”

The great news is that the Florence Gallery is only a short train ride away from the Venice Biennale! Over 300,000 people will attend the Venice Biennale. If you’re one of those lucky attendees on vacation in Italy, I urge you to try and catch both of Carole’s shows!

 

Carole has been invited again to take part in the Venice Biennale, which is often dubbed “the Olympics of the art world”. Her monumental works DurgaMa and Leda and the Swan are part of the 2015 exhibit: Time –Space-Existence presented by Personal Structures by Global Art Affairs running from May 9th through November 22, 2015 in Palazzo Mora. Her selections for this year draw on the themes of birth/rebirth and existence. 

 

Leda and the Swan,   2014. Oil on Resin with 24k Gold Leaf and Swarovski Crystal. 42 H x 80 W x 90 D inches.

Leda and the Swan, 2014. Oil on Resin with 24k Gold Leaf and Swarovski Crystal. 42 H x 80 W x 90 D inches.

Leda and the Swan draws on mythical context. It is based on the Greek myth in which Zeus, disguised as a swan, seduces Leda, resulting in the birth of Helen of Troy. The reclining female figure drapes her relaxed body across the back of the inflatable swan in an elegant curve that moves from the swan’s neck to its tail.

She is simultaneously strong and serene in a vintage women’s bathing suit and swim cap. When the Swan left Carole’s NYC studio the combined weight of the sculpture and its crate was over 1,000 pounds!

 

DurgaMa,   2014. Painted Bronze. 101 H x 90 W x 91 D inches.

DurgaMa, 2014. Painted Bronze. 101 H x 90 W x 91 D inches.

DurgaMa is an ascending beauty that represents the cycles of existence. The lotus symbolizes rebirth and spiritual awakening. The meditative figure sitting atop the opened lotus flower speaks to the purity of the artist’s inner vision.

The lotus’ strong stem carries it up to twelve inches above dirty water to bloom. It represents the soul’s journey from the mud of materialism to the radiant light of enlightenment.  DurgaMa basks in that light.

 

Matteo, 2008. 19 H x 20 W x 10 D

Matteo, 2008. 19 H x 20 W x 10 D

Carole and Gianluca have a long standing bond that has brought them together to celebrate fine art and fine wine many times at Feuerman’s exhibitions. Their collaborations began with the 2007 Venice Biennale when Carol unveiled her famous Survival of Serena at Paradiso in Giardini. 

 

Survival of Serena, 2007. Oil on Bronze. 38 H x 84 W x 32 D.

Survival of Serena, 2007. Oil on Bronze. 38 H x 84 W x 32 D.

Feuerman fondly recalls, sitting at her table by the entrance to Paradiso and watching the already swollen lines to view the piece, grow even larger.

In a serendipitous twist, as the guests at the table began to introduce themselves, Gianluca explained that he sponsored the exhibition for an artist named Carole Feuerman. Carole excitedly confessed that she was in fact the artist and they have been friends ever since!

 

 

The wine connoisseur’s family owned Bisol has a vineyard with 16 different sites with a myriad of varying soils and microclimates, which helps them bottle their own distinct brand of perfection: 

“Our philosophy is to express the freshness and flavor of Prosecco” says, Export Director Giovanni Oliva.

 

 

 

PALAZZO MORA

 

   OPEN DAILY 10.00 - 18.00 HRS. CLOSED ON TUESDAY    Strada Nuova #3659 Venezia, Italy

 OPEN DAILY 10.00 - 18.00 HRS.
CLOSED ON TUESDAY

Strada Nuova #3659 Venezia, Italy

 

 

DURING THE VENICE ART BIENNALE 2015

PERSONAL STRUCTURES

Palazzo Bembo & Palazzo Mora

Venice, Italy

 9 May until 22 November 2015   (Pre-View 7 and 8 May 2015)

 

The exhibition is organized by:

 Sarah Gold, Karlyn De Jongh, Valeria Romagnini, Rachele De Stefano,

Anna De Stefano, Jaspal Birdi, Lucia Pedrana and Rene Rietmeyer. 

Latest book Publication:

PERSONAL STRUCTURES: TIME - SPACE - EXISTENCE #2

 

Next Art Project Publications:

YOKO ONO: ARISING

herman de vries: being this joy experience unity

 

Current exhibition:

TIME-SPACE-EXISTENCE

14th International Architecture Exhibition, the Venice Biennale, Venice, Italy

 

7 June - 23 November 2015.

 

 

 

 

 

 

 

 

 

Carole Donates Work To Charity Event For Breast Cancer Research by Carole Feuerman

by Kelsey Zalimeni

Carole Feuerman has graciously donated her sculpture Miniature Serena II to The Breast Friends Party charity auction to help fund breast cancer research.  This event, hosted by The Compleat Sculptor, will look to raise money for the Mount Sinai Breast Health Resource Program through auctioning works by Carole and other top artists such as Tom Otterness, Penny Dell, and Aldo Chaparro.

Miniature Serena II   (2010) - painted resin with 24kt gold leaf - available for auction  HERE .

Miniature Serena II (2010) - painted resin with 24kt gold leaf - available for auction HERE.

As a female artist, this cause is especially near and dear to Carole's heart. It is her great honor to be part of this effort to raise awareness and funds for breast health.  

The Breast Friends Party takes place this Wednesday, October 15 at 6pm at 90 Vandam Street, New York NY.  Purchase your tickets now on the event site

Showing Promise by Carole Feuerman

by Kelsey Zalimeni

With Spring in full bloom, there's no better time to consider a work like "Monumental Cocoon."  Like a burgeoning butterfly ready to burst from its safe haven, this gigantic marble figure lies powerfully in wait. Here the fetal position loses its typical connotation of infantile weakness. Instead, the pose reflects dormant potential, a showing of promise.

"Monumental Cocoon" , 2010  Marble, 40 x 80 x 42 inches, Waterfall Gallery & Mansion, New York, NY

"Monumental Cocoon", 2010

Marble, 40 x 80 x 42 inches, Waterfall Gallery & Mansion, New York, NY

As a figure made of marble, "Cocoon" is in dialogue with Classical sculpture, the most lauded artform within the hierarchy of genres.  The pose is neither upright nor heroic, yet it still conveys a sense of power and authority. Her smoothly rendered countenance shows peace and contentment.  

"Monumental Cocoon" , (detail) 2010  Marble, 40 x 80 x 42 inches, Waterfall Gallery & Mansion, New York, NY

"Monumental Cocoon", (detail) 2010

Marble, 40 x 80 x 42 inches, Waterfall Gallery & Mansion, New York, NY

This piece can be seen as an allegorical device through which the artist comments on her own potential. Despite her established career, Carole still sees herself on the verge of that critical bloom.  This mindset is what makes creators great, what keeps them pushing for growth and constant innovation.