Carole A. Feuerman

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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 artists 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 four continents. She has produced a rich body of work in the studio and the public realm. By combining conventional sculptural materials of steel, bronze, and resin, with more unconventional media like water, light, sound, and video, Feuerman creates hybrid works of intricate energy and psychology. 
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. To this day, she continues her focus on public outdoor sculptures, working primarily in bronze.
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. ‘Grande Catalina’, her monumental sculpture featured at the 2007 Venice Biennale, is included in A History of Western Art, published by Harry N. Abrams, and written by Anthony Mason and John T. Spike.
Her works are exhibited in private and public collections, galleries, and museums worldwide. They are often integrated with architecture and landscaping in the creation or renovation of buildings and sites. An especially important example is her monumental ‘Double Diver’ spiraling 36 feet in the air, and permanently sited in Silicon Valley, owned by the City of Sunnyvale, California. ‘Survival of Serena’ has been exhibited by New York City Department of Parks & Recreation and is now exhibited publically in the Piazzetta in Capri, Italy. ‘Monumental Quan’ was exhibited in the Frederik Meijer Sculpture Gardens in Grand Rapids, Michigan and is now in the Venice Biennale. 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 latest sculpture, ‘Beyond the Golden Mean’ is 16 feet tall and 2.5 tons of bronze, and is installed in Porto Montenegro.
Feuerman has had nine solo museum retrospectives, exhibited extensively worldwide, and is included in the permanent collections of 19 museums. In Italy, she participated in the Venice Biennale four times, as well as in Piazza della Repubblica in Florence, Palazzo Grazie, the Teatro Romano e Museo Civico in Fiesole, and the Musei di Rimini. In China, she has exhibited in Hong Kong, the National Museum of China, and Huan Tai Hu Museum in the Jiangsu province. She has exhibited in Korea at the Clayarch Gimhae Museum, Daejeon Museum, and Suwon Museum. In Germany, she has exhibited at the Nassauischer Kunstverein Wiesbaden, the Contemporary Art Museum in Aachen, and in Kassel during Documenta 14 (2017). In Spain, she exhibited at Museo de Bellas Artes de Bilbao and the Academia de Bellas Artes de Madrid. In Mexico, she has exhibited at Marco Museo de Arte Contemporáneo de Monterrey, and Denmark at the Arken Museum of Modern Art.
The 2017 Venice Biennale features Feuerman’s exhibition “Personal Structures, Open Borders” in conjunction with the Venice Biennale and includes ten of her iconic outdoor painted bronze sculptures in Giardino Della Marinaressa. Feuerman’s work is also exhibited at Venissa in Burano, Palazzo Mora, Palazzo Bembo, and the San Clemente Palace.
Her selected 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.
Feuerman seeks to connect with her viewers on an intuitive level, evoking emotion and engagement. It is often the viewer’s participation, or the object/viewer relationship, that completes her work. Feuerman maintains two studios in New York and New Jersey. On an ongoing basis, Feuerman’s work can be seen in selected galleries and museums worldwide.