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Item Number: 126026
Title: ANTHONY CARO
Author: Fried, Michael ; Gary Tinterow (et al)
Price: Not Available
ISBN: 9781935263807
Description: New York: Gagosian Gallery, 2013. 2 vols. 30cm., pbk. Volume 1: Anthony Caro: Park Avenue Series, 92pp ; Volume 2: Caro at Museo Correr, 96pp., both volumes prof. illus., most in color. Published on the occasion of "Anthony Caro: Park Avenue Series" at Gagosian Gallery Britannia Street, London and of "Caro at Museo Correr" at Museo Correr, Venice. Summary: Steel pipes, beams, disks, and agricultural tools make up Caro's latest abstract sculptures, which reveal fresh aspects from every viewpoint. The works evolved out of the planning process for an enormous public sculpture he envisioned for a busy thoroughfare in New York City, and as such are prompted by a sense of ground-parallel speed. The long, low pipes of Clouds, for example, create a latitudinal setting for smaller, curved parts that evoke lighter forms moving through space. Solitude is composed of curved and crumpled steel sheets that seem to float around an upright, cannon-like component. Art historian Michael Fried describes the Park Avenue sculptures as "conspicuously open," an apt characterization given the exciting dynamism they achieve with few parts. When Caro was invited to make a proposal for the Park Avenue public sculpture program, he considered the fact that most viewers would be traveling in cars, buses, or on foot. After at least two years of planning and multiple trips to New York, this ambitious project was canceled for financial reasons. Realizing that the structural sections he had designed to make up the larger work could become captivating forms in their own right, Caro used them as starting points for the present sculptures. In his introductory catalogue essay, Michael Fried writes about these sculptures: "My own impulse had been to think of late Beethoven, the great quartets..." They come across as both straightforward and intensely lyrical. Caro's initial breakthrough took place in the early 1960s with a series of large, brightly painted steel abstract sculptures, which he placed directly on the floor. At the time it was a radical presentation. This constant reinvention of the language of abstract sculpture, as well as his influential teaching career at St. Martin's School of Art, have distinguished Caro not only as the sculptural successor to artists such as Henry Moore and David Smith, but also as an innovative artist who has consistently defied convention.
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