Feuerman Exhibiting Two Monumental Painted Bronzes at Palazzo Mora Nearing the End: The closing of the Venice Biennale

The Palazzo is located directly on the Strada Nuova, in Venice, Cannaregio.

The exhibition can be visited, by free entry, from May 9 until 22 November 2015,

daily 10.00 - 18.00h , Tuesdays closed.

For more information please visit www.palazzomora.org

Every two years, the city of Venice, an island solely linked by canals and bridges, referred to as “The Floating City” becomes inundated with art during the Venice Biennale, a worldly happening that absolutely everyone wants to be seen at, and that every artist wants to be shown at. This year Feuerman is showing two monumental painted bronzes made especially for the event and brought to you by Global Art Affairs.

Be sure to see Carole Feuerman’s Leda and the Swan and DurgaMa before time runs out on November 22nd, also recommended by http://www.slowtraveldiary.com/slow-living/travel-photo-carole-feuerman-venice-biennale/ and http://www.demotix.com/search/media/feuerman

Detail: Leda and the Swan, 2014, Oil on Resin, 42 x 80 x 90 inches.

Leda and the Swan, 2014, Oil on Resin, 42 x 80 x 90 inches.

During the Renaissance, Venice was the center for commerce and art, and propelled the field of art. Carole’s interest in Classicism and creating idealized forms embodies the artistic ideals of the Renaissance. Representing classical and idealized figures combined with a hyper-realistic style creates a genre that any Renaissance artist would find innovative. Furthermore, the inspiration behind many of Carole’s pieces harken back to Greek mythology. For example, Carole’s Leda and the Swan is based on the myth of Zeus and Leda, where Zeus disguises himself as a swan in order to seduce the beautiful Leda, from which Leda bore Helen of Troy. The Leda and the Swan depiction emerged more prominently as a classicizing theme during the Italian Renaissance, even Leonardo Da Vinci depicted the tale. In Carole’s rendering, a reclining Leda donning a vintage women’s swimsuit and cap relaxes her body against the top of an inflatable swan, forming an elegant curve that begins at the swan’s neck and travels to its tail.

                                                      DurgaMa, 2015, Oil on Bronze, 101 x 90 x 91 inches. 

Conversely, Carole’s DurgaMa derives not from western art but rather explores the tranquility found in eastern traditions. DurgaMa is an ascending beauty that represents the cycles of existence. The lotus reflects a sense of spiritual awakening and rebirth. Similarly, the meditative female Indian that serenely rests atop the flower hang strives to reach contentment and enlightenment. From the stem of the lotus to the top the crown DurgaMa chronicles the soul’s journey from worldly influences and materialization to transcendence and enlightenment. It is a remarkable piece that one should not miss seeing. Over 200,000 people have visited Leda and the Swan and DurgaMa through the summer of 2015. Carole has been exhibiting at the Venice Biennale since 2007 and looks forward to being part of the Venice Biennale in 2017!  Be sure to make a visit to Palazzo Mora to see these captivating sculptures in an ideal setting before the Biennale ends on November 22, 2015.

Carole A. Feuerman 2015 Global Exhibitions

follow us on:

instagram | facebook | twitter | linkedin

Kendall Island, 2014. Oil on Resin. 770 x 21 x 38 inches.

Carole A. Feuerman is recognized as one of the world’s most renowned, influential, and popular hyperrealist sculptors.  Her prolific career spans four decades in which she has pioneered new approaches to sculpture. 

In May, the Double Diver, Feuerman's monumental sculpture towering 36 feet in the air, was installed at NetApp’s headquarters and gifted to the city of Sunnyvale, California. 

Using the innovative technique of dripping molten bronze and utilizing the ability to make 4,800 pounds of bronze balance on six-inch bronze wrists, she pushed the boundaries of both art and physics; creating a sculpture that is truly the first of its kind. 

Feuerman is currently exhibiting in Personal Structures, Time Space Existence, Global Art Affairs Foundation, which is part of this year's 2015 Venice Biennale in Italy.

Her solo exhibition, Art in Harbour City, Hong Kong just closed and the sculptures are now going to be touring Asia. They will be shown next at the Daejeon Museum of Art in Daejeon, South Korea in a hyperrealism exhibition opening on Sept 4th. After that they will be exhibited at a museum in the capital city of Seoul.

 

Asia, 1999. Bronze. 83 x 31 x 15 inches.

Her work is currently on exhibit in a solo show at KM Fine Art in Chicago. 

On August 22nd she is having an outdoor sculpture show at Gerson Zevi Gallery in Water Mill, NY in the Hamptons featuring 13 outdoor bronzes. 

Christina, 2014. Oil on Bronze. 72 x 19 x 14 inches.

October 9th is the opening of another solo show at Hubner & Hubner Gallery in Frankfurt, Germany.

Aria Gallery from Florence, will open their new space in London in mid October with a 2 person show featuring Feuerman.

In the spring of 2016 she will have a New York Solo show and a solo show at the in the DeLand Museum in Florida. 

Next Summer, 2012. Oil on Bronze. 39 x 54 x 50 inches.

She continues to focus on making figurative sculptures for public and private collections. Feuerman maintains two studios in NY and NJ. On an ongoing basis, Feuerman's work can be seen in selected galleries and museums worldwide.

 

Korea's Largest Hyperrealstic Public Art Exhibtion 'Hyperrealsim: Nothing is Static'

World Renowned, Hyperrealist Sculptor Carole A. Feuerman’s First Show in South Korea

follow us on:

instagram | facebook | twitter | linkedin

Carole A. Feuerman has been invited to take part in a major Hyperrealism Group Exhibition at the Daejeon Musuem of Art in Daejeon City, South Korea. The exhibition is entitled Hyperrealism: Nothing is Static and will be running from September 4th through December 20th 2015.

As a veteran hyperrealist, Feuerman is keen to participate in such an exciting milestone for her artistic genre with over 80 works going on display from 16 different artists from eight different countries.

The Golden Mean, 2012. Bronze and 24K Gold Leaf. 150 x 54 x 38 inches. 

The Daejeon Museum’s mission with this exhibition is to celebrate and explore the history of Hyperrealism as well as consider its future evolution. This group museum exhibition is scheduled to travel onto Seoul next, followed by Taiwan, then Singapore, and Japan.

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

Through her work, Feuerman seeks to synthesize simulated hyper reality with a masterful illusionary effect that stimulates and elevates everyday reality.

Her sculptures are hailed for their meticulous manipulations of the human form, which translate into tangible presentations of complex, emotive figures that depict individually crystalized narratives.

Monumental Quan, 2012. Oil on Bronze with Stainless Steel. 67 x 60 x 43 inches. 

Feuerman is a virtuoso sculptor capable of reflecting a vast range of human emotions in her work. From wrinkles to veins, the technical prowess honed over a forty-year career is evident in every one of her Swimmers.

Olympus, 2013. Oil on Resin. 10 x 168 x 66 inches.

She confronts viewers with her hyper real figures and challenges them to achieve a fuller actualization of their senses.

Her sculptures are constantly bringing us into deeper dialogue with ourselves about how we define our own reality and whether we are willing to renew that definition.

Are we willing to expand our perceptual horizons as well as defy any or all temporal limitations in order to see infinity in the details of life?

Feuerman exceeds reality and she invites any one bold enough to join her.

Monumental Brooke with Beach Ball, 2011. Oil on Resin. 45 x 60 x 43 inches.

Capri, 2013. Oil on Resin. 30 x 20 x 11 inches.

Balance, 2010. Oil on Resin. 36 x 32 x 18 inches.

Carole A. Feuerman Solo Show: 'New Works' at KM Fine Arts Chicago

Miniature Serena, 2015, Oil on resin with red Swarovski Crystal cap, 10 x 17 x 8 inches.

Carole A. Feuerman | New Works

July 31 – September 15, 2015

Artist Cocktail Reception: July 31, 5-8pm

RSVP HERE

Chicago, IL (May 19, 2015) - KM Fine Arts is pleased to announce Carole A. Feuerman | New Works, a solo exhibition of new sculptures by the artist, on view from July 31, – September 15, 2015 at the gallery’s Chicago location at 43 East Oak Street, Chicago, IL 60611. The exhibition will feature a selection of both life-size and small-scale works by the artist. An opening reception will be held on Saturday, July 31, from 6-9pm with the artist in attendance.

Carole Feuerman (b.1945) has received critical acclaim for her hyperrealist sculptures of swimmers and bathers for over forty years. A number of her most iconic images, including Balance, Serena and Miniature Quan will be featured in the exhibition alongside life-size works, Christina and Next Summer. Executed in painted resin with tactile flesh and meticulous detail, Feuerman’s sculptures have a presence that is both contemporary and classical. While it is not uncommon for hyperrealist work to seem cold and unapproachable, Feuerman’s bathers, balanced and calm, are unexpectedly intimate and inviting.

Genuine mink fur is used for the replication of eyelashes and hair, and the details of the tanned skin, fingernails, and bathing suit ripples are painstakingly painted on. These details combined with the perfectly formed water droplets made of clear resin create astonishingly life-like sculptures. A number of swimmers are even dressed with swim caps that are bejeweled with red and crystalline Swarovski Crystals. The artist states that she, “sculpt[s] the human figure so lifelike, the pieces seem to breathe...This can take up to 100 different coats of paint, and glazing and sanding in between coats, to get the finish and luminosity needed. From start to finish, the process of creating a sculpture can take from 6 months to several years.”

Next Summer, 2012, Oil on Resin, 39 x 54 x 50 inches.

In addition to her resin and oil sculptures, Feuerman is also works actively with bronze. Two of her bronze works, Miniature Tree and Miniature Diver will be featured in the exhibition. The body of the diver is arched into a sensuous C-shape and speaks to her understanding of the golden mean: an ancient mathematical equation epitomizing balance and proportion. The bather featured in Miniature Tree is posed with an S-curve, or contrapposto, typical of classic Greek and later Renaissance sculpture. 

Feuerman lives and works in New York. She has had six museum retrospectives and her work has been exhibited at the Metropolitan Museum of Art, the 2008 Olympic Fine Arts Exhibition, the Venice Biennale, The State Hermitage, and The Palazzo Strozzi Foundation, to name a few. Among her many honors are 1st-Prize-Best in Show at the Beijing Biennale, the Amelia Peabody Sculpture Award, the Betty Parsons Sculpture Award, and the Medici Award. Her work is in the selected collections of His Majesty the Emperor of Japan, President Bill Clinton and Secretary of State Hillary Clinton, Henry Kissinger, Mikhail Gorbachev, the Forbes Magazine Collection, the Caldic Collection, and Credit Suisse Collection. Selected public collections include Grounds for Sculpture, the El Paso Museum of Art, the Boca Raton Museum of Art, the Bass Museum and Art-st-Urban.

Miniature Diver, 2014, Bronze with 24 karat gold leaf, 24 x 8 x 6 inches.

About Carole A. Feuerman

Carole A. Feuerman is recognized as one of the world’s most renowned hyperrealist sculptors. Her prolific career spans four decades in which she has pioneered new approaches to sculpture. Working in both monumental and life size, she is the only figurative artist to hyperrealistically paint bronze for use in outdoor public art, and the only sculptor to install these sculptures in the water.

While attending the School of Visual Arts in New York, she painted 13 album covers used by Time Warner Records including, but not limited to, The Rolling Stones World Tour Book, Alice Cooper, and Aretha Franklin. She has been honored with six major museum retrospectives to date.  Her work has been showcased in numerous exhibitions including the Venice Biennale, the State Hermitage, the Palazzo Strozzi Foundation, the Kunstmuseum Ahlen, the Archeological Museum di Fiesole, and the Circulo de Bellas Artes.  She won first prize at the Austrian Biennale, the Florence Biennale, the 2008 Olympic Fine Art Exhibition, best in show at the Beijing Biennale, and won the Save The Arts Foundation Award as Museum Choice.

Miniature Balance, 2015. Oil on resin with Swarovski Crystals. 18 x 16 x 9 inches.

In 2000, she was elected to be a member of the International Woman’s Forum, where preeminent leaders of diverse professional achievement from finance to fine arts come together to make a difference and to take an active, leadership role in matters of importance. In 2013 her sculpture, The General’s Daughter was featured in the Outwin Boochever Portrait Competition at the Smithsonian's National Portrait Gallery.

There are four full-color monographs written about her work: Carole Feuerman Sculpture, both editions published by Hudson Hills Press, La Scultura in Contra la Realta, which is available in multiple languages, and Swimmers, published by The Artist Book Foundation. 

KM Fine Arts | Chicago

43 East Oak Street

Chicago, IL, 60611

Gallery Hours | Tuesday - Saturday, 11am - 6pm

t: 312.255.1202

e: info@kmfinearts.com

Carole A. Feuerman's Show "New Works" at KM Fine Art Chicago

Christina, 2014. Oil on Resin. 72 x 19 x 14 inches.

Feuerman is thrilled to be exhibiting stateside at KM Fine Art in Chicago because she and her sculptures have been globetrotting.

Recently back, from her immensely successful solo exhibition in Hong Kong, Feuerman’s Harbour City pieces are now moving to the Daejeon Museum of Art in South Korea and then onto another museum show in Seoul. This exhibition will be followed by upcoming October shows in London and Frankfurt.

Feuerman is also creating an outdoor sculpture park with Mana Wynwood Miami for 2015 Art Basel.

Miniature Balance, 2015. Oil on Resin. 18 x 16 x 9 inches.

The latest word from curators at the 2015 Venice Biennale is that the illusionary effect of Feuerman’s two monumental sculptors there is so popular, that stopping people from touching the pieces “seems impossible.” Thus, the sculptures now literally have bodyguards.

Feuerman is excited to introduce her newest swimmer Christina to the Windy City. Hopefully, she won’t need a bodyguard. Next Summer and Miniature Serena will join her on display.

Miniature Serena, 2015. Oil on Resin with Swarovski Crystal. 10 x 17 x 8 inches.

Every Feuerman swimmer has a story: Christina is one of Feuerman’s most spontaneous creations.

The sculptor was drawn to the aesthetics of a bathing suit she saw on her birthday in Iceland and imagined what kind of woman would wear such a bold suit with grace and authority. The one piece suit, swimming cap, and high heels speak to empowered womanhood.

There is no such thing as a trivial detail in a Feuerman sculpture: Christina’s left hand is semi clenched into a fist as she elegantly bathes in the sun.

The radiance of her sun warmed skin and her fist refer to what Feuerman calls, “the posture of power”. Christina is equally feminine and delicate, but powerful and liberated as well.

The one piece suit is a classic look juxtaposed against the contemporary silver high heels. This speaks to the generational evolution of the female form and how women choose to empower/express themselves through fashion.

Next Summer, 2012. Oil on Resin. 39 x 54 x 50 inches.

Christina’s coloring and clothing were especially designed for the KM Fine Art Show. A distinct mark of a ‘Feuerman’ is the sculptor’s unique practice of sculpting and painting all clothing and accessories.

Where others simply use actual clothing, Feuerman prefers hand crafted perfection to mere product. Hyper-reality after all, is in the details.

Miniature Quan, 2014. Oil on Resin. 11 x 11 x 7 inches.

“My Swimmers are peace loving, and sometimes pleasure loving. They are satisfied with life and moreover, they are survivors. My swimmers have their own personalities and tell their own stories.”

FOR IMMEDIATE RELEASE

Carole A. Feuerman | New Works

July 31 – September 15, 2015

Opening Reception with Artist in Attendance: July 31, 5-8pm

KM FINE ARTS | CHICAGO

Chicago, IL (May 19, 2015) - KM Fine Arts is pleased to announce Carole A. Feuerman | New Works, a solo exhibition of new sculptures by the artist, on view from July 31, – September 15, 2015 at the gallery’s Chicago location at 43 East Oak Street, Chicago, IL 60611. The exhibition will feature a selection of both life-size and small-scale works by the artist. An opening reception will be held on Saturday, July 31, from 6-9pm with the artist in attendance.

Carole Feuerman (b.1945) has received critical acclaim for her hyperrealist sculptures of swimmers and bathers for over forty years. A number of her most iconic images, including Balance, Serena and Miniature Quan will be featured in the exhibition alongside life-size works, Christina and Next Summer. Executed in painted resin with tactile flesh and meticulous detail, Feuerman’s sculptures have a presence that is both contemporary and classical. While it is not uncommon for hyperrealist work to seem cold and unapproachable, Feuerman’s bathers, balanced and calm, are unexpectedly intimate and inviting.

Genuine mink fur is used for the replication of eyelashes and hair, and the details of the tanned skin, fingernails, and bathing suit ripples are painstakingly painted on. These details combined with the perfectly formed water droplets made of clear resin create astonishingly life-like sculptures. A number of swimmers are even dressed with swim caps that are bejeweled with red and crystalline Swarovski Crystals. The artist states that she, “sculpt[s] the human figure so lifelike, the pieces seem to breathe...This can take up to 100 different coats of paint, and glazing and sanding in between coats, to get the finish and luminosity needed. From start to finish, the process of creating a sculpture can take from 6 months to several years.”

In addition to her resin and oil sculptures, Feuerman is also works actively with bronze. Two of her bronze works, Miniature Tree and Miniature Diver will be featured in the exhibition. The body of the diver is arched into a sensuous C-shape and speaks to her understanding of the golden mean: an ancient mathematical equation epitomizing balance and proportion. The bather featured in Miniature Tree is posed with an S-curve, or contrapposto, typical of classic Greek and later Renaissance sculpture.

Feuerman lives and works in New York. She has had six museum retrospectives and her work has been exhibited at the Metropolitan Museum of Art, the 2008 Olympic Fine Arts Exhibition, the Venice Biennale, The State Hermitage, and The Palazzo Strozzi Foundation, to name a few. Among her many honors are 1st-Prize-Best in Show at the Beijing Biennale, the Amelia Peabody Sculpture Award, the Betty Parsons Sculpture Award, and the Medici Award. Her work is in the selected collections of His Majesty the Emperor of Japan, President Bill Clinton and Secretary of State Hillary Clinton, Henry Kissinger, Mikhail Gorbachev, the Forbes Magazine Collection, the Caldic Collection, and Credit Suisse Collection. Selected public collections include Grounds for Sculpture, the El Paso Museum of Art, the Boca Raton Museum of Art, the Bass Museum and Art-st-Urban.

About Carole A. Feuerman

Carole A. Feuerman is recognized as one of the world’s most renowned hyperrealist sculptors. Her prolific career spans four decades in which she has pioneered new approaches to sculpture. Working in both monumental and life size, she is the only figurative artist to hyperrealistically paint bronze for use in outdoor public art, and the only sculptor to install these sculptures in the water.

While attending the School of Visual Arts in New York, she painted 13 album covers used by Time Warner Records including, but not limited to, The Rolling Stones World Tour Book, Alice Cooper, and Aretha Franklin. She has been honored with six major museum retrospectives to date.  Her work has been showcased in numerous exhibitions including the Venice Biennale, the State Hermitage, the Palazzo Strozzi Foundation, the Kunstmuseum Ahlen, the Archeological Museum di Fiesole, and the Circulo de Bellas Artes.  She won first prize at the Austrian Biennale, the Florence Biennale, the 2008 Olympic Fine Art Exhibition, best in show at the Beijing Biennale, and won the Save The Arts Foundation Award as Museum Choice.

In 2000, she was elected to be a member of the International Woman’s Forum, where preeminent leaders of diverse professional achievement from finance to fine arts come together to make a difference and to take an active, leadership role in matters of importance. In 2013 her sculpture, The General’s Daughter was featured in the Outwin Boochever Portrait Competition at the Smithsonian's National Portrait Gallery.

There are four full-color monographs written about her work: Carole Feuerman Sculpture, both editions published by Hudson Hills Press, La Scultura in Contra la Realta, which is available in multiple languages, and Swimmers, published by The Artist Book Foundation. 

About KM Fine Arts  
With prominent locations in Chicago on Oak Street and West Hollywood in Los Angeles, KM Fine Arts, directed by curator Ana Hollinger, has been critically acclaimed for its museum-quality exhibitions since 2006. The gallery specializes in American and European artists of early modernism, postwar, and contemporary art—including the movements of Abstract Expressionism and Color Field painting. The gallery program includes works by Georg Baselitz, Norman Bluhm, Fernando Botero, James Brooks, Alexander Calder, John Chamberlain, Michael Goldberg, Hans Hofmann, Robert Indiana, Wolf Kahn, Joan Miro, Pablo Picasso, Robert Rauschenberg, and Andy Warhol, along with contemporary artists Eric Fischl, Ramsey Dau, Carole Feuerman, Kim Gottlieb-Walker, Dana Louise Kirkpatrick, Gary Lang, Victor Matthews, Ruth Pastine, Cole Sternberg, Judith Supine, and Bernie Taupin—among others. 

Feuerman's Sculptures Have Bodyguards at Palazzo Mora for 2015 Venice Biennale

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

When pieces of art acquire their own bodyguards, it’s definitely worth noting. Feuerman’s monumental sculptures Leda and the Swan and DurgaMa have been so successful at this year's Venice Biennale that they literally require guarding.

Both sculptures are part of the 2015 Biennale Exhibit: Time –Space-Existence presented by Personal Structures, Global Art Affairs running through November 22, 2015 in Palazzo Mora.

Leda and the Swan, 2014. Oil on Resin with 24K Gold Leaf and Swarovski Crystal.

The studio received word from the director of the fair, René Reitmeyer and the curators of the Personal Structures exhibition brought to Venice by the GAA Foundation, that despite providing Leda and the Swan with a tent to establish a boundary and protect her from the elements: People persist in trying to touch her to see if the Swan is a pool tube or an actual sculpture. 

The sculpture has it’s own bodyguard. Leda’s fans are tenacious in their desire to touch the surreal beauty and according to the Venice curator: “It seems unstoppable.”

Leda and DurgaMa have garnered a massive response while on display at the Biennale. It’s estimated that up to 200,000 people have laid eyes on Feuerman’s enchanting sculptures this summer. Crowds continue to gather and Leda and DurgaMa never have less than 30 people admiring them on a daily basis.

In response to the Leda/DurgaMa phenomenon, Feuerman will be returning to Venice from August 15th to August 19th and will be making an artist visit to Palazzo Mora and can be found there daily from 11:00 am until closing time.

She will be doing some painting while she is there and it will be an exciting opportunity to watch her work. She looks forward to connecting with and greeting fervent enthusiasts of her sculptures.

Palazzo Mora:

Strada Nuova #3659 Venezia, Italy

Feuerman Prints up for auction at Christie's as Lot 183 this Tuesday July 14th

LOT 183

A suite of Feuerman Serena prints, one of the artist’s most iconic images, will be up for auction this coming Tuesday July 14th at Christie’s Auction House. Take advantage of this rare opportunity to become a collector and acquire a timeless, iconic set of images.

Venice Biennale 2015: Feuerman's Swimmers sponsored by Global Arts Foundation on view through November

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

The City of Venice can breathe a sigh of relief. The whirlwind opening ceremonies of the 2015 Venice Biennale have past. Venice has survived the tidal wave of art freaks, geeks, sleeks, and elites.

However, while the Biennale’s most trafficked period is over, its exhibitions will run through November and there is plenty of art yet to explore for visitors.

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

Carole Feuerman’s monumental works DurgaMa and Leda and the Swan are on view in front of Palazzo Mora and were sponsored by the Global Arts Foundation. The response to her work this summer was a blend of romanticized ecstasy and serious-minded zeal.

People’s overwhelming infatuation with Leda and the Swan resulted in a spontaneous romance between the crowd and the sculpture.

Photo courtesy of Instagram user: Serenaaquaro.

In a highly politicized and darker themed Biennale, Feuerman’s sculptures inspired genuine and fruitful emotions. Both pieces projected serenity and strove to perpetuate an elevated, nourishing atmosphere.

The vanished fanfare of gala parties and PR forced feedings allows time to reflect and digest.

Photo courtesy of Instagram user: bettio.

 This year’s curator, Okwui Enwezor, proclaimed that it was “the right of every artist to strike such a stance of radical refusal,” to “the noise, pollution, dust, and decay” of the world. Feuerman’s work and the response it received, speaks to her successful emphasis on humanity’s finer points.

“Through my sculptures, I explore classicism and beauty, which are subjects that have been taboo in contemporary art. There is a conditioned, yet inaccurate, belief that "good" radical art has to reject something that is attractive and pleasing to the eye.”