Throughout Feuerman’s career from the 1970’s to the present, she has been recognized as a pioneering figure in the world of hyper-realistic art. Coined “the reigning doyenne of super-realism” by art historian John T. Spike, Carole Feuerman has solidified her place in the rhetoric of art history. Like her compatriots Duane Hanson and John DeAndrea, she has devoted herself to visualizing the human condition in superrealistic form. With her unique vocabulary and contemporary medium, she explores the three-dimensional world of figurative sculpture. Feuerman’s interest in realism, and truth of expression is indicative of the artist’s formative desire to sculpt the human body. Through her art, Feuerman creates sculptures of people in everyday situations that possess a universal appeal, thereby, making her hyper-realistic depictions both accessible and familiar. Her contemporary approach forges historical links with the past while revealing her compelling vision for the future.
She has had six major museum retrospectives to date, and will have her seventh at the Deland Museum of Florida in 2016. Her work has been showcased in multiple Biennales, winning first prize at three of them, the State Hermitage, the Palazzo Strozzi, the Kunstmuseum Ahlen, the Archeological Museum di Fiesole, and the Circulo de Bellas Artes. Awards include, Save The Arts Foundation, Cadillac & Hummer Motors, and Lorenzo de Medici, Amelia Peabody, Betty Parsons Award and Charles D. Murphy Award.
She has four full-color monographs: Carole Feuerman Sculpture, both editions published by Hudson Hills Press, La Scultura in Contra la Realta, published by Edizioni Polistampa, and Swimmers, published by The Artist Book Foundation. A History of Western Art, published by Abrams and written by Anthony Mason and John T Spike, showcases her sculpture Grande Catalina.
Her works are in the private collections of his majesty the Emperor of Japan, Mr. William Clinton and Mrs. Hillary Clinton, Norman Brahman, Caldic Collection, Mark Parker, William Mack, Ariella Wertheimer, Robert Hurst, and Malcolm Forbes among others. She has taught, lectured, and given workshops at the Metropolitan Museum of Art, the Solomon Guggenheim Museum, Columbia University, and Grounds for Sculpture. She is in the permanent collections of eighteen museums including the City of Sunnyvale CA, the City of Peekskill NY, El Paso Museum of Art, the Boca Raton Museum of Art, Bass Museum, and Art St. Urban.
Feuerman’s professional career started in the 1960’s while attending the School of Visual Arts in New York. To help pay her tuition, she painted 13 album covers for Time Warner Records including, but not limited to, The Rolling Stones World Tour Book, Alice Cooper Snake, and Aretha Franklin. In 1975, she created her first hyperrealistic sculpture for the cover of National Lampoon Magazine. In 1976, she began her transition from illustration to fine art with her first hyperrealist solo sculpture show called Rated X, at MJS Gallery in Fort Worth, Texas. In the Mid 1970s Carole turned to sculpture with a new and innovative subject matter, swimmers. By sculpting swimmers Carole created powerful, and healthy women. This sculptural representation was never before addressed nor represented in hyperrealist art. Through her sculptures, Carole has propelled the genre of hyperrealist art.
From the 1980 to the present she has worked in sculpture, paintings, drawings, and prints. In 2000, she was elected to The International Women's Forum and the IWF Leadership Foundation. In 2011, she founded the Carole A. Feuerman Sculpture Foundation. In 2012, the New York City Department of Parks publicly exhibited her iconic sculpture Survival of Serena. In September 2013’s show Body Double, Feuerman exhibited Quan, her hyper-realistic painted bronze and stainless steel sculpture, at the Frederik Meijer Gardens and Sculpture Park in Grand Rapids, Michigan. The same year, The General’s Daughter was featured at the Smithsonian's National Portrait Gallery. In 2014 she became a board member of the International Sculpture Center and Chairman of the International Committee where she helped to establish International Sculpture Day, IS Day, celebrated annually on April 24th worldwide. In July of 2014, The Golden Mean, a 16-foot male diver sculpture, was purchased by the city of Peekskill, NY. In May of 2014, the Double Diver, towering 36 feet in the air, was installed at NetApp’s headquarters and gifted to the city of Sunnyvale, California. Using a technique, she developed of dripping molten bronze, she put 4800 pounds of steel on six-inch wrists, pushing the boundaries of art and physics, creating a sculpture that is truly the first of its kind.
Feuerman currently has five solo exhibitions; in Florence, Hong Kong, Korea, Frankfurt, New York, and Miami. Two of her monumental sculptures, DurgaMa and Leda and the Swan, are in this year’s 2015 Venice Biennale at Palazzo Mora. In December of 2015 she will have two more solo shows, one in Art Miami Basel with C24 Gallery, and another at the National Hotel in Miami, with Markowicz Fine Art. In 2017, she will have her second solo exhibition in the Venice Biennale. Feuerman maintains two studios in New York and Jersey City. Her work can be seen in galleries and museums worldwide