By Katelyn Amendolara-Russo
HOWLAND, Ohio – If you visit the Medici Museum of Art as the weather warms, you may notice something remarkable throughout the grounds and galleries: swimmers.
Figures emerge from water, rest at the edge of a pool or hang suspended in a moment after exertion. Their surfaces glisten with droplets, expressions serene, bodies captured between movement and rest. As spring turns to summer, these sculptures evoke sunlight, warmth and the universal memory of a summer afternoon by the water.
These swimmers are the signature works of Carole Feuerman, a pioneer of hyperrealist sculpture.
For more than five decades, Feuerman has expanded the possibilities of sculpture with technical mastery and emotional depth. While hyperrealism is often associated with visual accuracy, Feuerman elevated the genre. Her figures are not simply realistic – they are psychologically present. They embody endurance, vulnerability and reflection, capturing moments of humanity that feel suspended in time. Today, her sculptures are recognized worldwide as defining works within contemporary realism.
But her career was shaped early on by a pivotal moment that illustrates the extraordinary influence a single encounter can have.
When Malcolm Forbes, the legendary publisher and collector, acquired one of Feuerman’s works early in her career, it marked a turning point. Recognition from a collector of that stature did more than validate her work; it placed her within a network of cultural influence and helped propel her onto an international stage. For many artists, such moments become sparks that ignite a lifetime of momentum.
Feuerman’s path began in a different creative sphere. Before gaining fame for hyperrealist sculpture, she worked as a commercial illustrator in New York during the 1960s, contributing artwork at a time when music and visual culture were colliding. She created illustrations for album covers for The Rolling Stones (“Monkey Man”), Alice Cooper and Aretha Franklin, placing her at the center of a vibrant cultural movement.
Two-dimensional imagery could only contain her vision for so long. By the 1970s, Feuerman began pioneering sculpture. Alongside Duane Hanson and John DeAndrea, she became a founding figure of hyperrealism, pushing realism to unprecedented levels while introducing an emotional presence that set her work apart. Her swimmers, divers and bathers became iconic.
These figures capture a universal human moment: the instant after effort, when the body rests and the mind drifts inward. The droplets of water on skin, subtle tension in a muscle, contemplative expressions – each sculpture transforms an everyday moment into something timeless. Her work has entered the permanent collections of more than 34 museums worldwide, spanning the United States, Europe and Asia.
Yet another defining moment occurred unexpectedly. In 2013 at the Venice Biennale, I took a wrong turn and stumbled upon a gallery displaying her sculptures. Standing there greeting visitors was Carole herself. I was star struck. She was an American artist whose work I had studied in school, someone whose sculptures had shaped contemporary realism. What began as a brief introduction quickly became conversation. That chance meeting became the beginning of a friendship.
Looking back, the parallel is remarkable. Just as Malcolm Forbes’ recognition propelled her early career, that unexpected encounter at the Biennale helped propel the Medici Museum onto an international stage. Through her generosity and vision, Feuerman has established a sculpture park and a significant permanent presence of her work at the museum. Visitors today encounter sculptures that might otherwise only be seen in leading museums and cultural capitals.
Our friendship extends beyond exhibitions. I serve on the board of directors of the Feuerman Sculpture Foundation, supporting its mission to advance contemporary sculpture worldwide. Visiting Carole’s New York studio offers a glimpse into the cultural network surrounding her work. On any day, you never know who might walk through the door – collectors, musicians or entrepreneurs. Encounters have ranged from tenor Andrea Bocelli to Daymond John of “Shark Tank,” reflecting the extraordinary reach of her influence.
Even in unexpected ways, our collaboration has reached audiences far beyond the traditional art world. At one point, Carole and I created a TikTok video together that went viral, reaching more than 22 million views – introducing millions to contemporary sculpture and the vibrant realism that defines her work. It was a reminder that art today travels in many directions – through museums, public spaces and digital platforms that bring creativity to new audiences.
This year, Feuerman’s career is being recognized with a Lifetime Achievement Award from the International Sculpture Center, with coverage in Sculpture magazine. The honor celebrates her decades of innovation and highlights the permanent collection at the Medici Museum, underscoring our institution’s role in preserving her legacy.
For visitors encountering those swimmers – glistening in sunlight and echoing the feeling of summer – the experience may feel immediate and personal. But behind those sculptures lies a larger story.
The power of a meeting can set a path ablaze. Sometimes, when you say yes to those moments, they ripple outward – transforming not only your path but the cultural landscape of an entire community.
