Venice Biennale - Articles - Zimbio

Feuerman showing at the Venice Biennale

Wed, 6 Sep 2007 17:25:00 GMT

posted by caroljf

Serena, 2007, Resin, 185 x 2006 x 97

PRESS RELEASE: FOR IMMEDIATE RELEASE
The Scriba Gallery , Concilio of Europeo dell’Arte & Huntington Block Insurance, & Bisol Present

"By the Sea"

Carole A. Feuerman

Curated by John T. Spike  -
November 21, 2007

Pavilion Paradiso
Giardini della Biennale, VENEZIA

“BY THE SEA”, is a spontaneous mini-retrospective of Carole Feuerman, the super-realist sculptor. Installed in the legendary Caffè Paradiso, the artists’ hangout in the cool Giardini, the show pays dual homage to Feuerman’s swimmers and to Venice herself, the ultimate seaside city.   Carole Feuerman first unveiled her bathing beauties at the Basel art fair of 1979.   Today, she is the reigning doyenne of super-realism.    BY THE SEA presents five major sculptures from the whole span of her career, 1981 to 2007, and still going strong.   Visitors wearing T-shirts and flip-flops are more than welcome.

Born in 1945, Feuerman was a full generation younger than Duane Hanson and John de Andrea, the pioneers of figure sculpture that is life-sized and life-like down to the tiniest details.   In the early Seventies, while Hanson was exhibiting his supermarket shoppers and other Pop Art satires, Feuerman was drawing album art for Alice Cooper and the Rolling Stones (‘Monkey Man’).   When she turned to sculpture in 1978, she took super-realism in a new direction: she got personal.    Feuerman knew that the flipside of junk-food culture was a new awareness of ‘wellness’.   Health, the World Health Organization decided in 1970, embraced a total package of ‘physical, mental, and social well being, not merely the absence of disease or infirmity’. A sound mind in a sound body, in other words.   Feuerman’s swimmers and bathers feel good inside their own skin.   Thirty years ago, showing healthy, intelligent women was a radical departure in contemporary art.   Now, to a new generation of realistic sculptors, Feuerman looks like an old master. ‘In Paradise’ of 1984 represents a woman drying her hair.   The piece is a late 20^th-century vision of a classical Venus – Venus Anadyomene -- that Venetian painters like Titian updated for the Renaissance.   Instead of emerging from the sea, wringing her tresses with her hands, the contemporary woman steps out of her shower, her hair wrapped in a towel. Until 2005, Feuerman respected the canon of super-realism, always making her sculptures life-sized, sometimes incorporating casts from the model.   ‘Grande Catalina’, featured in BY THE SEA, was her first monumental piece, based on the life-sized ‘Catalina’ of 1981 in the Boca Raton Museum of Art.   Unfazed by the December rain and chill, the giant swimmer posed contentedly for thousands of snapshots taken by visitors going to and from the Biennale in the Fortezza da Basso in Florence. ‘Survival of Serena’ is a new work, expressly made for this summer exhibition.   Like its sister ‘Grande Catalina’, Serena is super-sized super-realism: it enlarges upon ‘Inner Tube’ of 1984.   She was named in honor of the traditional name of Venice, La Serenissima--- which is typical Feuerman: saving Venice, while saving Venus.John T. Spike, Curator, Art Historian, Author

“Each and every sculpture is meticulously rendered, and alive with urgent feeling, even when it is no more than a fragment – a torso or foot, a face of elbow – symbolize of a grander femininity, indeed, of the eternal feminine. Feuerman clearly knows the female body from the emotional inside as well as the physical outside.”
Donald Kuspit, Renowned Art Critic, Author, Editor of Art Criticism, and Teacher

“Feuerman’s Fragmentary sculptures grow on one as they are meant to do. She chooses familiar themes and movements. Feuerman’s art allows and encourages flights of fantasy, and involve us with an intimacy
unexpected at first glance”
Margaret Kelly, Curator, the FORBES Magazine collection
“One of the major hyper-realist sculptors of the seventies and eighties, Feuerman moves into areas that both expand the concepts of realism at the same time they shrink the conventions of realism. She redefines the concept of the environment – the natural environment and the social environment, and the tension between the two.”
Stephen C. Foster, Art Historian, Author, Curator

scribave@libero.it      www.Feuerman-Studios.com/BytheSea.html
Contact: Fabio Marafatto & Marina di Bertodini + 415236728 mobile + 3933562223079 . scriba@libero.it

Welcome to our wikizine called "Venice Biennale"

Sun, 11 Jun 2007 18:26:19 GMT

posted by The_Zimbio_Team
Wikizines are interactive magazines that anyone can create or edit - and this one is called "Venice Biennale". Here you can find fresh voices and respond in real time. Some members write articles about recent news and trends related to the wikizine's topic, others recount relevant personal stories or share their favorite pictures and video clips. Got an interesting idea or story to share with other members of this wikizine? Well, then put on your journalist's cap and add your own article!

Carole Feuerman - BIOGRAPHY

Mon, 2 Sep 2008 17:28:00 GMT

posted by caroljf

Carole Feuerman is acknowledged as one of America's major realist sculptors. Her work is included in the collections of the State Hermitage Museum in St. Petersburg, Russia, Grounds for Sculpture in Hamilton, New Jersey, President Bill Clinton, Senator Hillary Clinton, Dr. Henry Kissinger, President Mikhail Gorbachev, the Forbes Magazine Collection, and many others. Feuerman's selected honors include: First Prize in the 2008 Beijing Biennale, the Peabody Award, the Betty Parson Sculpture Award, and the Medici Award.

Feuerman had her first comprehensive retrospective, called "From Studio to Foundry: Three Decades of Sculpture," at the Southern Alleghenies Museum of Art in 2000 (catalogue essays by critics John Yau and Donald Kuspit). In 2004, she exhibited in "An American Odyssey 1945-1980" with the most prominent American artists of the post-WWII era. In the following year she presented two workshops at the Metropolitan Museum of Art working specifically with inner city youths. In 2006, her "painting with fire" sculpture "Zeus and Hera," was installed in the permanent collection of the prestigious "Grounds for Sculpture" in Hamilton, New Jersey.

Feuerman Showing at the Venice Film Festival in Lido at OPEN2007

Wed, 6 Sep 2007 18:02:13 GMT

posted by caroljf

The Survival of Serena, 2007, Resin, 185 x 206 x 97cm

OPEN2007 / International Sculpture Exhibition in Lido, Venice curated by Paolo De Grandis, Archille Bonito Oliva, Alanna Heiss, Chang Tsong-zung and Vincenzo Sanfo

through October 14, 2007

Joining the Visual arts with the Cinema

Partial list of encluded works:
Christo and Jeanne- Claude, John Henry, Beverly Pepper, Sandro Chia, Enzo Cucchi

Art of Carole A. Feuerman
by Stephen Foster, Author, Art Historian & Art Critic

I believe Carole Feuerman’s art to be major art. Her statements are large, both literally and figuratively, and engaging because they invite complicity and resistance - confidence and cynicism. There is no right story, nowhere to begin from, other than one’s self, and no one to follow.

Someone said that nothing is as trite as the profound and nothing as profound as the trite. Our myths are part of our triteness – the cultural productions that map our “concepts” of experience and the conventions of our realities. They are no more and no less than reflections of the cognitive schemes by which we navigate our lives. We can take comfort in this, or we can take offense.

Much is made of Feuerman’s works in terms of their introspection, subjectivity and universality. According to the artist herself, the works embody serenity, tranquility, purity, and passion. But these are only their exhibited properties, perhaps no more than the products of our emotional consumerism.

Viewers interested in the manufacture (artistic or otherwise) of our self-mythifications should be concerned about the cultural politics of these emotions, their use in the prosecution of majority culture, and their role in the enforcement of popular culture concepts of the “deep” and meaningful. On the other hand, we live our myths – not so much because we believe in them, but because they are our (universal) emotional currency.

Feuerman’s works are incomplete without these subtexts (the viewers’ responsibility), and the artist understands that looking at art should be as much a skirmish as an embrace. It is precisely in this - in their challenges and serious implications - that Feuerman’s works win their significance and our respect.

First Ever Venice Biennale African Pavilion

Sun, 11 Jun 2007 18:30:57 GMT

posted by The_Zimbio_Team

This year's Venice Biennale offers a first-ever African pavilion, which is showing work from 30 different artists. Unfortunately all of the art comes from one private collection located in Angola's capital, Luanda. The collection is amazing, but may not be fully representative of "African Art".

Regardless, it's great to see the Venice Biennale supporting and promoting art from varied geographies and cultures.

Venice Biennale - Articles - Zimbio

Feuerman showing at the Venice Biennale

PRESS RELEASE: FOR IMMEDIATE RELEASEThe Scriba Gallery , Concilio of Europeo dell’Arte & Huntington Block Insurance, & Bisol Present

PRESS RELEASE: FOR IMMEDIATE RELEASEThe Scriba Gallery , Concilio of Europeo dell’Arte & Huntington Block Insurance, & Bisol Present

"By the Sea"

Welcome to our wikizine called "Venice Biennale"

Carole Feuerman - BIOGRAPHY

Feuerman Showing at the Venice Film Festival in Lido at OPEN2007

First Ever Venice Biennale African Pavilion

PRESS RELEASE: FOR IMMEDIATE RELEASE
The Scriba Gallery , Concilio of Europeo dell’Arte & Huntington Block Insurance, & Bisol Present

PRESS RELEASE: FOR IMMEDIATE RELEASE
The Scriba Gallery , Concilio of Europeo dell’Arte & Huntington Block Insurance, & Bisol Present