“Feuerman’s figures seem capable of thought. They evoke an inward life, which invited the viewer’s speculation as well as signals the distance between them and us. We can never know what they might be thinking. And perhaps that’s the point.”

John Yau, Art Critic, Poet, Essayist, Editor, and Professor

“Feuerman’s is a vein of realism so far untapped; a significant intersection of classical illusion, unforgiving realism and eloquently silent objectivity. What we see is a common grounds of abstraction; a confluence of realisms that render “classicism,” “realism” and “non-objectivity” as incidental and merely exhibited properties of that work.”

Stephen C. Foster, Expert in Early Twentieth Century, European, and mid-twentieth Century American Art, Renowned Art Historian, Author, and Curator

“Each and everybody is meticulously rendered, and alive with urgent feeling, even when it is no more than a fragment – a torso or foot, a face of elbow – symbolize of a grander femininity, indeed, of the eternal feminine. Feuerman clearly knows the female body from the emotional inside as well as the physical outside.”

Donald Kuspit, Renowned Art Critic, Author, Editor of Art Criticism, and Teacher

“Carole Feuerman’s art touches on a wide variety of personal emotions, centered on the human figure, and mainly women, Feuerman is indisputably the American doyenne of realistic figure sculpture.”

John T. Spike, Noted Art Historian of Italian Art of the Fifteenth through the Eighteenth, Director of the Florence Biennale, and Author

“Her creation performances are reminiscent of Jackson Pollock’s gestural paintings, yet they bring the fourth dimension of time into the three dimensional forms.”

Lisa Paul Streitfeld, Art Critic, Curator, Artist

“Feuerman’s Fragmentary sculptures grow on one as they are meant to do. She chooses familiar themes and movements. Feuerman’s art allows and encourages flights of fantasy, and involve us with an intimacy unexpected at first glance.”

Margaret Kelly, Curator, the FORBES Magazine collection

“Feuerman’s bronze castings are a brilliant example of deconstruction/reinvention of the perennial classical/contra classical dialogue. Carole A. Feuerman’s recent work gives contemporary meaning to the ancient adage, out of the fire comes life.”

George Nelson Preston, Ph.D. Department of Art CCNY/CUNY, 1999

“It can be said that the true measure of an artist’s credibility is how clearly the arc of her work parallels the trajectory of her life. Like Picasso or Pollack, as the artist matures and develops mastery of craft, the work itself becomes more simplified or abstract.”

Tarssa Yazdau, Writer & Artist

“Feuerman transforms her personal optimism and pain into her sculpture. Her work has great magnetism and demands interaction between the artist as a storyteller and the viewer. We reflect and are transformed by her work.”

Faustino Quintanilla, Director of QCC Art Museum / CUNY

“Carole Feuerman knows there is gloom in the world, but she wants the viewer to share her celebration of life. It is the life that she breathes into the pieces after months of work that make them exist. And exist they do, as important contemporary sculptures that will prove themselves over the years.”

Richard Shack, Emeritus Board Chairman of the Museum of Contemporary Art, Los Angeles, Founder of NMMA, Board Member of Whitney Museum, 100 top art collectors

“For me, contact with the figure — eyes closed — creates a kind of interiority or intimacy that feels both voyeuristic and revelatory.”

Rick Friswell, Managing Editor, ARTESmagazine.com