Anthony Caro

  • In the news

  • The art that will adorn Olympic Sculpture Park
    Seattle Post Intelligencer, WA -
    ... 1965; Tony Smith's elegiac "Wandering Rocks" from 1967; Ellsworth Kelly's untitled metal version of a fallen leaf from 1981; Anthony Caro's majestic "Riviera ...
  • The First Art Newspaper on the Net
    Art Daily -
    ... Tony Smith’s Wandering Rocks (1967), Ellsworth Kelly’s Untitled, 1981 (1981), Roxy Paine’s Untitled Tree (Seattle) (2003) and Anthony Caro’s Riviera ...
  • Pop meets protest in the Sixties
    The Scotsman, UK -
    ... Led by Anthony Caro, who taught at St Martin’s, sculpture was revolutionised, and Philip King’s zany coloured plastic shapes, like the jazzy colours of Op ...
  • A vision made solid
    Telegraph.co.uk, UK -
    ... Over the past decade, those whose work has been exhibited at Goodwood include Anthony Caro, Tony Cragg, Bill Woodrow, David Nash, William Turnbull, Bernard ...
  • Art Scene by Bill Van Siclen: 30 years ago, Modernists put the new ...
    Providence Journal (subscription), RI -
    ... Bleak House Point, a grassy promontory between Watch Hill and Brenton Point, visitors could ogle works by the likes of Isaac Witkin, Anthony Caro and Alexander ...
Sir Anthony Caro (born 8 March 1924) is an English, abstract sculptor whose work is characterised by assemblies of metal using 'found' industrial objects.

Caro's <em>Dream City</em>, rusting steel, 1996 at the Yorkshire Sculpture ParkEnlarge

Caro's Dream City, rusting steel, 1996 at the Yorkshire Sculpture Park

Caro found modernism when working as an assistant to Henry Moore in the 1950s. After being introduced to the American sculptor David Smith in the early 1960s, he abandoned his earlier figurative work and started constructing sculptures by welding or bolting together collections of prefabricated metal, such as I-beams, steal plates and meshes. Often the finished piece is then painted in a bold flat colour.

Caro is often credited with the significant innovation of removing the sculpture from its plinth, although Smith and Brancusi had both previously taken steps in the same direction. Caro's sculptures are usually self supporting and sit directly on the floor. In doing so they remove a barrier between the work and the viewer, who is invited to approach and interact with the sculpture from all sides.

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