Talk:Carole Feuerman

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I removed this list of museums the didn't explain why it was there?Teapotgeorge^Talk 22:04, 10 March 2011 (UTC)

My work is in the permanent collection of 18 Museums Carole Feuerman (talk) 20:12, 4 October 2015 (UTC)

Museums

• http://www.albright.edu/freedman
• http://www.amarilloart.org
• http://www.bassmuseum.org
• http://www.bocamuseum.org
• http://www.brandeis.edu/rose
• http://www.elpasoartmuseum.org
• http://www.lowemuseum.org
• http://www.miamichildrensmuseum.org
• http://www.qcc.cuny.edu/artgallery
• http://www.sama-sfc.org

== 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 hyper-realistic sculpture for the cover of National Lampoon.

I made album covers under the name "Carole Jean"'to pay my way tuition at the School Of Visual arts Carole Feuerman (talk) 20:14, 4 October 2015 (UTC)

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. Carole Feuerman (talk) 20:32, 4 October 2015 (UTC)

The beginning of my art career.

Throughout my career, from the 1970’s to the present, I have 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 (talk) 20:26, 4 October 2015 (UTC)

A little about me by John T. Spike, 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 super-realistic 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 has created sculptures of people in everyday situations that possess a universal appeal, thereby, making hHer hyper-realistic depictions are both accessible and familiar. Her contemporary approach forges historical links with the past while revealing her compelling vision for the future." Carole Feuerman (talk) 20:30, 4 October 2015 (UTC)

Books

I have 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. Carole Feuerman (talk) 20:33, 4 October 2015 (UTC)

Collections

My 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. Carole Feuerman (talk) 20:35, 4 October 2015 (UTC)

From 1980 until 2015

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. Carole Feuerman (talk) 20:41, 4 October 2015 (UTC)

None of this is of any use at all, unless you can provide reliable secondary sources. Theroadislong (talk) 20:43, 4 October 2015 (UTC)

I agree, some of this information is relevant and would be useful for the article, but it needs independent third-party references. Reify-tech (talk) 21:37, 22 February 2018 (UTC)

COI editing, what's to be done?

This page appears to have been edited by a small army of conflict-of-interest and or WP:SPA editors, including the subject. The result is more or less what you'd expect – a lot of WP:puffery, and relatively little well-sourced encyclopaedic content. I'd really like to know what "With her talent prevailing, she attended the School of Visual Arts in New York City to begin her career as an illustrator" is supposed to mean, for example. I'm thinking of reverting to this revision by Ewulp as a first step in cleaning it up. Does anyone have any thoughts on whether that might be a good idea, or if there is some better point to revert to? Ping Ewulp, Theroadislong, Markvs88, KylieTastic, Reify-tech in case they want to comment. Justlettersandnumbers (talk) 19:04, 7 January 2019 (UTC)

• Hi Justlettersandnumbers there is certainly some puff to be trimmed and some more citations, however it's difficult to tell how bad as many of the refs in "Early life" are not online, or unreliable being a blog or her website. I'm not sure about a full revert to Ewulp as it would be a bit bitey and the main editor Rkasid has not had a warning about neutral editing or COI issues. The main issue appears to be the "Early life" section with puff and poor citation, so maybe just removing that would unough (unless I've missed other stuff, I only had a quick scan). Cheers KylieTastic (talk) 19:43, 7 January 2019 (UTC)

I agree with Kylie Tastic. I've put a request to join the discussion on Rkasid's talk page. Ewulp (talk) 02:16, 8 January 2019 (UTC)

I've experienced a similar example of this before at Talk:Peggy Adler. The COI party eventually was brought around to being a solid contributor to the article, but it took a lot of patience and good faith to do so... but it is possible. Markvs88 (talk) 06:14, 9 January 2019 (UTC)

• I strongly agree that the article has been changed into an embarrassing puff piece since the last time I worked on it. I am currently preoccupied elsewhere, but encourage editors to work together patiently to restore the article to Wikipedia standards for objectivity. Reify-tech (talk) 12:25, 3 February 2019 (UTC)

Conflict of interest

Several contributors to this article appears to have a close personal or professional connection to the topic, and thus to have a conflict of interest. Conflict-of-interest editors are strongly discouraged from editing the article directly, but are always welcome to propose changes on the talk page (i.e., here). You can attract the attention of other editors by putting {{request edit}} (exactly so, with the curly parentheses) at the beginning of your request. Requests that are not supported by independent reliable sources, or are excessively long, are unlikely to be accepted.

Please also note that our Terms of Use state that "you must disclose your employer, client, and affiliation with respect to any contribution for which you receive, or expect to receive, compensation." An editor who contributes as part of his or her paid employment is required to disclose that fact. Justlettersandnumbers (talk) 19:06, 7 January 2019 (UTC)

Vanity Exhibitions

The prevalence of Vanity Exhibitions is another problem here, in addition to this pretty intense COI editing. The Venice Bienniale exhibitions I can verify here, are all vanity pay-to-play, as is the Florence Biennale, whose director give the exaggerated quote used in the lead. Theredproject (talk) 18:57, 17 May 2020 (UTC)