Explore The Sculptures of Carole A. Feuerman

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.

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.