The human body has always been at the core of Carole A. Feuerman’s artistic poetics. At the beginning of her career, in the late 1970s, her sculptures presented the body in fragments, yet charged with energy, vitality, and eroticism. Hands clenching a necktie draped across a woman’s bare torso, slipping over a bra or beneath panties, fastening or tightening ballet shoes—all evoked the shifting self-image women sought to project in those years. . .
. . . Subscribe to print and/or digital editions of Sculpture to read the full article.
