upcoming exhibitions

Troy: myth and reality

British Museum, Great Russell Street, London, WC1B 3DG

 

Three Anthony Caro sculptures will be on display in this exhibition about the legend of Troy including The Death of Hector (The Trojan War) pictured here. 
 

21 November 2019 – 8 March 2020

https://www.britishmuseum.org/whats_on/exhibitions/troy.aspx

Anthony Caro: The Last Judgement 

Gemäldegalerie,Matthäikirchplatz, 10785 Berlin  

20 December 2019 -  12 July 2020 

https://www.smb.museum/en/exhibitions/detail/anthony-caro.html

CURRENT exhibitions

Anthony Caro at Cliveden 

Cliveden House, Cliveden Road, Taplow, Maidenhead, SL6 0JF

Curated by Amanda Renshaw with Blain|Southern

6 April - 10 November 2019

www.blainsouthern.com/exhibitions/anthony-caro-at-cliveden

anthony caro: stainless steel by karen wilkin

published by lund humphries 

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.

Caro 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.

Karen 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.  

Karen 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.

www.lundhumphries.com/products/108451

RECENT exhibitionS

Anthony Caro: Iron in the Soul at Norwich University of the Arts

St Andrews Street, Norwich, NR2 4AE

7 May - 20 July 2019 

www.nua.ac.uk/events/all/anthony-caro-iron-in-the-soul/

Anthony Caro
Straight On     (1972)
Steel, rusted & painted red
201 x 173 x 132 cm

 

Anthony Caro: Seven Decades at Annely Juda Fine Art, London

3rd & 4th Floor, 23 Dering Street, London W1S 1AW
 

1 May - 29 June 2019

www.annelyjudafineart.co.uk

Anthony Caro
Bull (1953-54)
Monotype
20.3 x 25.9 cm 

Anthony Caro

Autumn Rhapsody (2011-12)
Painted steel and yellow perspex
178 x 201 x 201 cm

Anthony Caro and Jules Olitski at Templon, Paris

28 rue du Grenier Saint-Lazare, 75003 Paris, France

16 March - 11 May 2019 

 

www.templon.com

Caro and Olitski

Installation image

Galerie Templon, Paris
 

Anthony Caro at Skulpturenhalle, Thomas Schütte Foundation

Thomas Schütte Foundation, Berger Weg 16, 41472 Neuss/Holzheim, Tel: +49 (0) 2182 – 829 85 20
10 September – 17 December 2017

Emma This     (1977)

Steel, rusted, blacked & painted red
59 x 102 x 73"/150 x 259 x 185.5cm

Creating abstract sculpture was the task that Anthony Caro set himself when he encountered American abstract painting in the late 1950s. He wanted to make a sculpture that would be “as important in a room as a person.” For his first works, Caro used standard construction industry steel beams. Instead of setting them upright, he placed them on the floor, side by side and stacked on top of one other – firmly in the real world. The parts are not joined, yet they appear connected, and each one, no matter what its size, has equal significance within the overall sculpture. Painted in bright colours, these sculptures expand into the surrounding space. Instead of evoking a figure, they create an open situation that draws the viewer in.

Over the years, Caro’s work became increasingly pictorial. One early sign of this is his use of wire mesh to bind the depth of staggered elements. Instead of using pre-existing materials, he now began to work with individual forms, and increasingly placed the sculpture within a confined area, making it into a stage on which a scene plays out. Caro would often choose machine elements suggesting unknown functions, translating them into images. In addition to the colours, the effect of the metal itself – Corten steel, brass – in combination with plexiglass, that brings light into the structure.

Among Caro’s innovations are his Table Sculptures. Although they stand on plinths, individual elements project into the space of the viewer. Caro did not make preliminary designs or studies, but worked improvisationally on the sculpture itself. And yet there are models of his sculptures, shown in this exhibition. These models served as an inventory of what he had already made, and so, being created after the fact, their degree of perfection is extraordinary.

 

Dieter Schwarz, curator

© Barford Sculptures Ltd, 2019