Looking Back
by Kelsey Zalimeni
Carole Feuerman's 1997 sculpture 'Paradise' shows the artist breaking into stylistic stride. The piece contains all classic Feuerman characteristics, including lifelike water droplets, flotation device, and hyperreal swimmer. This particular sculpture bears a couple unique traits that more current Feuermans don't, such as a full head of hair sans swimcap and an open, expressive mouth.
'Paradise', 1997 -Oil on Resin, 26 x 16 x 9 inches, Private collection
When considering this piece, one is offered a glimpse of an earlier period within Carole's illustrious career. Drawing comparisons between 'Paradise' and 'Serena' for example, yields parallels in pose and theme but also contrast in execution.
'Survival of Serena', miniature, 2010- Oil on Resin
Advances in both technology and Carole's own artistic process have streamlined her works over the years, as the artist seemingly never stops improving in technique and ambition. With such an exponential rate of growth, the future possiblities for new works are limitless- and she isn't slowing down anytime soon.
Pretty/Complex
by Kelsey Zalimeni
Carole Feuerman's latest prints are an extension of her fascination with swimming and water. These pieces feature clusters of swim caps and swimsuits, free of their practical use and presented as objects themselves. A combination of playful arrangement and bright color make for a cheerful mood. The titles- St. Barts and St. Lucia- further enforce the joyful radiation.
'St Barts', 2014, Giclée with Silkscreen, 72 x 30.75 inches
'St Lucia', 2014, Giclée with Silkscreen, 72 x 30.75 inches
Although they're aesthetically pleasing, these prints aren't just pretty pictures. They contain complexities which spur thought and conversation. St Barts and St Lucia both bear the movement and composition of an abstract-expressionist painting. The vast array of texture and pattern provide depth and dimension that challenge the eye. Lastly, the anthropomorphic nature of this garment gathering yields a most entertaining narrative; one could get lost within the play of either piece for quite some time.
The caps and swimsuits assembled in St Barts and St Lucia are the same ones she has used in her sculptures over the last 40 years. Can you match a cap or suit to a Feuerman sculpture? Submit your findings to info@carolefeuerman.com or post in the comment bar below.
Creating 'Kendall Island'
by Kelsey Zalimeni
Mana Contemporary has recently released a featurette on Carole Feuerman and her work. The video follows Carole throughout the process of making 'Kendall Island,' a portrait sculpture of Mana's own Kendall Tichner. This exclusive footage pulls back the veil to reveal the master artist at work.
Carole prepping Kendall Tichner for casting
Viewers are granted a peek into the meticulous and exhausting world of Carole's studio. Enjoy the video and send comments and questions to info@carolefeuerman.com, or enter them through the comment option below.
Carole's Picks: Linda Cole
by Kelsey Zalimeni
It is time yet again for a new edition in the Carole's Picks series. This month features established artist and Michigan native Linda Cole. Cole has spent time in Ann Arbor, New York, and London experimenting with textiles and design. Over the years she developed a distinctive style which brought material and space into play with one another. Her works are ethereal and imaginative, with a sound balance struck through structure and order.
'Rain' (2011)
Cole works in large scale multimedia, often displayed as public installations. Audiences are asked to engage with the pieces spatially, as they occupy a large portion of the display location. One also considers the relation of parts to a whole in this encounter, admiring the small components of a work like 'Rain' and their role in the overall composition.
'Elevated Air' (2008)
Cole continues to create these marvelous installations, exhibiting in cities all over the country and abroad. For more information on this artist, visit her website HERE.
Send any comments or questions to info@carolefeuerman.com or post to the comment section below!
Breakthrough
by Kelsey Zalimeni
In today's manic, rushing society, humans have grown desensitized to stimuli, caring only to speed through their busy day and make it home at the end. Carole Feuerman's 'Nude Coming Through 14th Street' asks how long it will take for New Yorkers to notice a nude woman coming through the wall of 14th Street's subway station at rush hour. This piece is an attempt to slow people down- to not only see, but to really look.
Nude Coming Through 14th Street, 2010
Oil on Resin, Photograph on Vinyl, 84 x 96 x 6 inches, Collection of the artist
Defying the laws of physics and social convention, this figure makes new the concept of individuality in total. The woman is neither concerned with her nudity nor the gawking of passersby, literally planting herself in a private space as her front leads into the public. An allusion to the fabled 'glass ceiling' can also be interpreted, as Carole uses the piece to illustrate her progressive mentality as a contemporary female artist.
Please send us your comments to info@carolefeuerman.com or post in the comment bar below!
Capri
by Kelsey Zalimeni
Basking in the glimmering presence of Carole Feuerman's 'Capri' invites viewers to fully appreciate the skill and care of its execution. While the dazzling Swarovski swim cap commands initial attention, the eye trickles slowly down the rest of the figure to delight in its detail and texture.
Capri, 2013, Resin with Swarovski Crystal Cap, 30 x 20 x 11 inches
A rather content countenance gives way to a fitting leisurely pose, one hand casually hooked to the edge of her suit. The swimmer dons a brilliant cobalt one-piece with incredibly convincing texture and weight. 'Capri' symbolizes glamour, grace, leisure, and luxury. She is both decadent and delicate, lavish yet natural- achieved through the juxtaposition of her relaxed, casual pose and the rich, sparkly materials she wears.
This featured piece is currently on display at Art Southampton from Thursday, July 24 to Monday, July 28. If you are attending the event, be sure to stop by booth AS67 to see 'Capri' in person!
Poseidon
by Kelsey Zalimeni
Carole Feuerman is now exhibiting her newest bronze sculpture, 'Poseidon', at Jim Kempner Fine Art in Chelsea, NYC. The piece features a male's head with organic shapes of bronze water drops sliding off the surface. This unique look is achieved through a technique that Feuerman herself developed, called 'Painting with Fire.' The artist first conceived of the idea while traveling by plane in 1998, feeling moved to express the gorgeous natural patterns that she witnessed from her aerial vantage point.
'Poseidon', 2014- sand-cast bronze
Despite its detachment from the rest of the body, 'Poseidon' conveys a surge of momentum, as the viewer anticipates full emergence from below the surface. The scale of the piece in combination with the pedestal height contributes to its potency.
'Poseidon' 2014- sand-cast bronze
Be sure to watch this short video of Carole signing the piece at Jim Kempner Fine Art in NYC:
Readers, be sure to share thoughts and questions about 'Poseidon' in the comment bar below!
Tomor and Matteo
by Kelsey Zalimeni
An encounter with 'Tomor and Matteo' epitomizes the term phenomenological experience. The digital sculpture installation requires the viewer to be active and aware of their own body in the space. Feuerman's choice to install the piece on the floor hearkens to a similar mechanism made famous by minimalist sculptor Carl Andre, forcing the audience to orient themselves about the piece as it occupies the ground they walk on.
'Tomor and Matteo in the Pool', 2010
Oil on Resin, Video Projection, Ceramic Tile, 120 x 96 inches
This piece was part of Carole's 2010 El Paso Museum retrospective exhibition, aptly titled 'Earth Water Air Fire.' The installation was certainly a highlight of the show, inhabiting its own viewing room complete with a 40-foot high digital projector suspended from the ceiling. The following video features a tour of the El Paso exhibition:
The depicted scene comes from a common, everyday experience, yet there is something ritualistic about the interaction. Perhaps the very nature of sharing (the pool, the beach ball, a glance) causes the piece to shine as sacred. This video below offers a glimpse of the installation in depth.
What do you think of Matteo and Tomor? Share thoughts, comments, and questions for Carole below!