Carole A. Feuerman on INSIDER

On Tuesday, July 26th, the Facebook sensation, INSIDER art posted a video featuring Carole A. Feuerman's hyperrealist sculptures.

In less that 3 days the INSIDER's video about Carole's work has gotten over 1.4 million views!

INSIDER, an online publication covering the latest trends in food, style, travel and culture, has achieved great fame on facebook in the past year. Now, it seems impossible to log onto facebook without coming across at least one of their posts. INSIDER is perhaps best known for its viral 60 seconds videos that cover anything from macaroon ice cream sandwiches in Bangkok to mind-blowing rope bridges in Costa Rica.

Here at Carole A. Feuerman Studios we are particularly excited about this NYC dessert covered by Insider:

However, it seems that our fans at INSIDER have left us no bread crumbs! Carole was not contacted by INSIDER, which makes this video a complete surprise to everyone here at Carole A. Feuerman Studios.

Thank you to the staff at INSIDER for recognizing Carole's work. We're not sure who you are, but if you're reading this, please feel free to say hello!

Share the video on Facebook HERE

Post by Dana Citrin

Frankfurt Welcomes Feuerman With Solo Exhibition At Galerie Hübner & Hübner

Germany welcomes Carole Feuerman this fall with a solo exhibition at Galerie Hübner & Hübner. Carole’s exhibition will open October 9, 2015 and run through November 11, 2015. Galerie Hübner & Hübner exhibits international and national artists, and resides in the Frankfurt, Rhein Main region. Grueneburgweg 71 D -60323 Frankfurt / Main http://www.galerie-huebner.de/en/exhibitions/current.

General's Twin, 2009. Oil on Resin. 24 x 15 x 8 in.

Carole Feuerman has been a pioneer in the hyper-realist art movement since its inception in the 1960s and has been perfecting the movement ever since. Feuerman’s solo exhibition provides viewers the opportunity to see Carole’s progression into one of the most influential figures in the hyperrealist movement. The exhibition chronicles Carole’s career, presenting sculptures from her first ever solo exhibition to the present day. For example, Red Tie (1965) a sculpture from Carole’s solo exhibition in Fort Worth, Texas called Rated X, juxtaposes the sweet General’s Twin (2009), featuring a young girl swimmer blossoming into adolescence.

Beach With Goggles, 2011. Oil on Resin. 18 x 12 x 7 in.

Beach With Goggles (2011) is another youthful swimmer featured in the show. This rosy cheeked girl in a poka-dot suit looks to be relaxing after a long swim. Swimmers have been a main theme throughout Feuerman’s career, therefore, they are prominently represented within the exhibition. Due to the craftsmanship and hyper-realist quality of every sculpture one innately strives to apply a narrative or personality to each piece. For example, one can easily imagine Kendall Island (2014) in her lustrous black cap and sleek crisscross suit resting right after diving practice. 

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

Even tabletop pieces are quite easy to envision as living figures. A peaceful Miniature Serena (2013) floats along with her inner-tube, as she rests on a tabletop. Meanwhile, Miniature Quan (2013)  precariously balances on a sphere creating a dichotomy between the relaxed swimmer and the pressure being applied to the sphere. Furthermore, it is a representation of the Buddhist goddess Quan and her burden of protecting the world. Their is a feeling of power, presence, and strength reflected in the emotion and youthful quality in each piece, a sense that frequently flickers and fades with age. Malibu (2012) a young swimmer featured in the exhibit can easily be seen effortlessly ‘breaking through’ the water. Where do readers imagine Carole’s sculptures? 

To learn more about Carole Feuerman and watch videos of her working, please visit http://www.carolefeuerman.com and http://www.carolefeuerman.com/videos-carole-and-her-work/.

Miniature Serena, 2013. Oil on Resin. 10 x 17 x 8 in.

Swimmer Sculpture Spotted in Chelsea

As a slew of gallery openings ensued in Chelsea last week I found myself caught in a cold and gloomy downpour. While walking briskly down 10^th Avenue through the pouring rain I spotted Miniature Balance illuminated in the window of Jim Kempner Fine Art. Unaffected by the torrential rain in her sleek black swimsuit and glistening Swarovski crystal cap, she effortlessly caught the eye of many passersby’s. Looking serene and tranquil Miniature Balance acted as a ray of sunshine and warmth on a dreary night. With closed eyes and relaxed features Miniature Balance became a comfort and reminder that a little water never hurt anyone, even when caught in the rain sans umbrella.

While viewing Miniature Balance, I couldn’t help but think how life-like she seemed to me. It is very easy to catch yourself believing Carole’s sculptures are people at first glance, which is a result of the level of craftsmanship within every artwork. Each sculpture is meticulously rendered with every vein, eyelash, and water drop expertly placed. In many instances I have found myself having to do a double take when passing one of Carole’s swimmer’s. Additionally, they are always very inviting, enticing you to come closer and examine the artistry and detail within every piece. Miniature Balance piqued my interest, making me want to know the inspiration, thought process, and technique behind the piece. I am wondering what questions or thoughts readers have when viewing Miniature Balance?

 

Miniature Balance (Swarovski Cap), 2014. 

Oil on Resin. 18 x 16 x 9 inches.

  

With fall rapidly approaching Carole Feuerman’s swimmer’s become welcomed reminders of hot weather and summer fun. If you desire a few last remnants of summer, be sure to visit Carole’s show in the Hamptons at Nicole Ripka Gallery (760 Montauk Hwy Water Mill, New York 11976) through October 19^th, 2015.

Carole Feuerman at Palazzo Mora 2015

The slightly, less insane way to navigate the 2015 Venice Biennale is via water taxi or vaporetto. Otherwise you’d break a world record for number of bridges crossed and number of events missed.

If you do manage to get a ride though, the squeeze is tighter than a NYC subway car at rush hour. As an art lover, there’s no choice, but to embrace being a sardine.

Seeing every aspect of the sprawling Biennale is quite impossible, but attendees strive to feast on as much of the mammoth artistic banquet as they can.

Everyone wants to be at the right place at the right time to discover ‘the piece of the moment.’ Well, her name happens to be Leda and she is residing at Palazzo Mora.

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

During the Biennale the sign that read “Do Not Touch” on Leda and the Swan evidently translated to: “Please poke, kiss, and take a seat!” The swarming crowd immediately adopted Leda as their own family.

People literally could not resist touching the sculpture, especially the Swan! They needed to prove that it was in fact not inflatable and that they could not use it to float down the canal in style.

The enduring hypnotic effect of Carole’s hyper-realistic sculptures was strongly felt by every visitor. Carole’s sculptures have the resilient and distinctive quality of being mistaken for the real thing again and again.

At one point a gentleman with a camera seemed to be engaged in a staring contest with Leda. He seemed convinced that she’d slip a wink and he’d be the one to catch it. We here at the studio applaud his efforts, but Leda never loses! 

It was a multi-generational gathering at Palazzo Mora and Carole is always thrilled to see her work being enjoyed by an energized, diverse crowd. All who ventured in enjoyed live music and specially supplied JEIO Prosecco wine by Bisol!

DurgaMa, 2014. Painted Bronze. 101 x 90 x 91 inches. 

Palazzo translating to Palace is highly appropriate since the ascending beauty DurgaMa stands tall as a lovely sculpted sentinel at the entrance. 

The sculpture very much embodied the exhibit’s theme of existence as it represents the cycle of life and the blooming of the Lotus Flower, which signifies rebirth.

Carole was thrilled to participate in another magnificent Venice Biennale and offers her special thanks to the curators of Personal Structures:

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

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