MIAMI, FLA.- Sculptor Carole Feuerman had a book signing during Art Basel Miami for her new book, I AM MINE. Focusing on her early works from the 1970s, the book offers a broader reflection on the art scene of that time, and includes essays by six leading female art critics and historians

• Barbara Buhler Lynes
• Tone Lyngstad Nyaas
• Helga Marsala
• Gloria Moure
• Victoria Noel-Johnson
• Leanne Sacramone

Early Fragments from the 1970s

"I Am Mine" showcases the work of sculptor Carole Feuerman, focusing on her artistic output from the 1970s. The book is enriched by the perspectives of six prominent art historians from various countries, each providing unique insights into Feuerman's innovative approach to hyperrealism. Through their commentary, the readers explore themes of identity, femininity, and the socio-political landscape of the time. The combination of Feuerman’s striking sculptures and the diverse critical analyses highlights her significant impact on contemporary art and the ways art continues to resonate in today's cultural discourse.




The new book "I Am Mine" enlightens readers about your early sculptures in the 70s that contributed to creating a statement for women's emancipation in the context of the art scene of the time. Do you believe this is relevant today and why?

I absolutely believe this topic is relevant. The themes of empowerment and emancipation that emerged from my early work resonate deeply with today’s ongoing discussions around gender equality and women's rights. In the '70s, we were breaking barriers and challenging societal norms, and while we have made significant progress, the fight continues. My work serves as a reminder of the struggles faced and the progress made, encouraging new generations to advocate for their voices and identities. The relevance lies in the fact that art can inspire dialogue, promote awareness, and foster change

You are considered a pioneer of super-realism art in the '70s with your early fragments. Can you tell us how your art has evolved and what your statement is today? What are you reflecting on with your new body of work?

My art has evolved significantly from those early days. While my initial works were grounded in super-realistic pop representation, they have since transformed to incorporate a broader range of styles and techniques. Today, I seek to reflect the complexities of human experience and emotion, moving beyond mere representation to explore themes like identity, memory, and the passage of time. My new body of work aims to challenge perceptions and invites viewers to engage in a deeper conversation about their own realities and experiences.




Excerpts from I AM MINE

MY REASONS

The 1960s and 1970s marked the rise of countercultural movements that challenged social norms regarding sexuality and morality. These movements fostered a more liberal approach to art, allowing artists to explore taboo subjects without fear of censorship. The feminist movement of the late 1960s and the following decade also transformed perceptions of self-determination in the management of one’s sexuality. Female artists began to reclaim their bodies, challenging male-dominated narratives that often marginalized or objectified female experiences.

With this book, I wanted to initiate a reflection on the cultural climate that characterized the 1970s.

I Am Mine stems from my need to investigate what meaning my early work might have for younger generations who did not experience that climate of great transformation. This led me to engage with female critics with different perspectives, whose texts are collected here. In no way influenced by me, the authors you find in these pages were completely free to look back in time and choose images of works by artists who were conceptually and formally different from me. The only instructions given to the authors of the texts were that, as far as I am concerned, they should focus on works from the 1970s and early 1980s.

Why this book now and not before? Because my work has taken a turn in recent years. I have returned to addressing the fragmented body, but from a perspective that ties in with reflection on self-determination, linking to the dynamics of the sexual liberation movement. The issue did not concern women alone. I arrived at my new works with fragments of tattooed bodies after going through a more introspective period with my works.

Inevitably, this book collects images of artists—mainly women—who pioneered new formal and linguistic experiences in the 1960s. From my experiences in those early years, I was influenced by Pop Art. From Pop Art, I absorbed the sense of repetition, which led me to return to the same subjects over the years. Different repetition is typical of Pop. The idea of the fragment, on the other hand, has always been linked to the poetics of postmodernism.

The idea that the liberation of Eros would have a cultural impact on society, making everyone more creative and less aggressive, fascinated me greatly, and I felt the need to address these issues in my work. I made live casts directly on the bodies of people, creating small fragments. I was particularly fascinated by what happened when people touched each other. I liked to see the imprints left by fingers on flesh. I noticed that the hands and fingers changed color. A fragment was much more interesting to me than showing the whole body. It told a huge story yet left much to the imagination.

My early works depicted the female form in a way that highlighted its strength, beauty, and sensuality, aiming to subvert traditional representations of women in art. I didn’t understand why my work wasn’t accepted. My approach was in tune with a society eager to redefine gender roles and promote greater equality, positioning my sculptures as reflections of contemporary feminist ideals.

My sculptures sought to represent women’s free sexuality, not only as objectification, but as a celebration of the human experience.




We understand you are getting an award from ISC. What does this mean for your legacy?

It is a significant honor for me to be the recipient receiving the 2026 of The Lifetime Achievement Award from the International Sculpture Center (ISC.) The award is highly respected in the world of contemporary art and sculpture. It recognizes individuals who have made exceptional contributions to the field, showcasing their influence on both the art community and the wider cultural landscape. Receiving this award recognizes my dedication, innovation, and impact throughout my career, and my commitment for being a sculptor. It also recognizes that I am helping to build the Feuerman Sculpture Park at the Medici Museum of Art in Ohio. I want the public to see, understand and appreciate how important sculpture is in our lives. The park is a reminder that the voices of sculptors matter, and art is a powerful tool for influencing society.

I am thrilled to be recognized along with some of the most renowned artists who have received this prestigious award:, Magdalena Abakanowicz, Alice Aycock, Lynda Benglis,Fletcher Benton, Fernando Botero, Deborah Butterfield, Louise Bourgeois, Sir Anthony Caro, Elizabeth Catlett, John Chamberlain,Barbara Chase-Riboud, Eduardo Chillida,Christo and Jeanne-Claude, Petah Coyne,Tony Cragg, Melvin Edwards, Red Grooms,John Henry, Sheila Hicks, Nancy Holt,Richard Hunt, Seward Johnson, Jun Kaneko,Phillip King, William King, Manuel Neri, Albert Paley, Jaume Plensa, Mark di Suvero, Claes Oldenburg and Coosje van Bruggen, Nam June Paik, Judy Pfaff, Beverly Pepper,Arnaldo Pomodoro, Giò Pomodoro, Robert Rauschenberg, George Rickey, Ursula von Rydingsvard, Betye Saar, George Segal, Joel Shapiro, Kiki Smith, Kenneth Snelson, Frank Stella, James Surls, William Tucker and Bernar Venet.

These artists are known for creating influential bodies of work and advancing the field of sculpture

To acquire the book I AM MINE and for more information, go to www.carolefeuerman.com