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Sir Anthony Caro revolutionized the medium of sculpture in the 1960s when he moved away from making elaborately modelled, figurative works cast in bronze, instead creating large, abstract assemblages out of prefabricated steel and aluminum elements. Sculpture Laid Bare?honours the legacy of this titan of modernist sculpture. Monumental in scale, lyrically evocative and openly constructed, Caro's sculptures foreground their brute materiality and the unvarnished signs of their manufacture. Anthony Caro: Sculpture Laid Bare showcases four of Caro's late sculptures, some of the most ambitious the artist has ever produced as well as earlier work to demonstrate both the continuity and the divergences with the most recent sculptures. Also included in the book are essays by Kenneth Brummel and New York-based curator and critic Karen Wilkin that consider Caro's sculptures from the perspective of his studio practice and his previous work.
April 1 - 25, 1998
In 1991, when Anthony Caro's (1924-2013), Sea Music was officially launched by Lord Palumbo, completion of Antony Gormley's, Angel of the North was seven years away. Sea Music may be seen as a forerunner of this and other iconic public sculptural projects.However, only thanks to the extraordinary generosity and determination of a group of committed individuals and organisations did this major site-specific work by one of the greatest sculptors of the late twentieth century find its way onto the quayside in the town of Poole on the South coast of England.The fascinating story of how this happened is told here in Alastair Sooke's illuminating essay, and recalled by Caro himself in a previously unpublished note written in 1991.The reason for publishing this book now is that, after over 25 years of standing up to Poole's harsh maritime climate, Sea Music has been conserved and repainted and is being justly celebrated through a programme of art and heritage activities.This catalogue celebrates the restoration of Caro's, Sea Music sculpture in Poole (revealed in spring 2017), and is also published to coincide with an exhibition of the artist's, Concerto Series at Poole Museum (13 May - 15 October 2017).
This is a critical analysis of contemporary politically engaged art.
"The decision to show these drawings with sculptures in the Madison Avenue gallery came from the wish to demonstrate the consistency of Caro's vision, the directing force and energy within the sculptures on view [...] Caro's drawings from the 1950s were neither preliminary sketches for sculptures nor were they imaginary sculptures but these exploratory exercises on newsprint were carefully preserved. They now provide a reminder of the thrill of the creative process when free from the practicalities of contruction."--Page 19.
This is the sixth volume in Lund Humphries' series of monographs on British sculptor Anthony Caro and the first publication to focus on his use of stainless steel as a distinct body of work.0Caro employed stainless steel extensively, from intimately scaled Table Sculptures to extremely large works, over many decades, and in his mature works, Caro's exploration and interrogation of this material became increasingly important. 0Karen Wilkin analyses Caro's use of stainless steel in the context of the development of modernist constructed sculpture, pioneered in the UK by Caro and in the US by David Smith, a friend and admired predecessor, from whom Caro inherited most of the stainless steel he first employed, following Smith's untimely death in 1965. 0Karen Wilkin's text represents a much-needed overview of Caro's late career and a vital expansion of our understanding of 20th-century and early 21st-century modernist sculpture.
A complete introduction to one of the world's most respected and influential sculptors, illustrated with Caro's latest works and key pieces in museums worldwide. The book is rich in new insights into Caro's art and outlook, containing a rare and exclusive new interview in which Caro ranges from personal recollections of other artists to vivid accounts of the creative process.