Brass and bronze, cast and welded
13 1/2 by 14 by 11 1/2 in. 34 by 35.5 by 29 cm.
Steel painted red, unique
139 by 113 by 59 in. 353 by 287 by 150 cm.
Table Piece Y-94 "Glacier"
Steel, rusted and varnished
34 1/16 by 92 7/8 by 40 in. 86.5 by 236 by 101.5 cm.
1969 - 70
Welded steel, painted
88 5/8 by 82 1/4 by 68 in. 225.1 by 208.9 by 172.7 cm
Steel, painted yellow
49 1/2 by 224 1/2 by 198 in. 125.7 by 570.2 by 502.9 cm.
58 1/2 by 155 by 6 3/4 in. 148.6 by 393.7 by 17 cm.
Steel, painted green, unique
18 by 138 by 49 in. 45.7 by 350.5 by 124.5 cm.
Table Piece XI
5 1/2 by 21 5/8 by 17 in. 14 by 54.9 by 43.2 cm.
b. March 8, 1924, Surrey, England
d. October 23, 2013, London, England
Sir Anthony Caro’s (1924-2013) prestigious career spanned six decades, during which he received numerous honors, critical acclaim, and widespread renown as one of Britain’s most important sculptors. Knighted by the Queen of England in 1987, Caro was appointed to the Order of Merit (OM) in 2000. Caro’s work is represented in over 150 museums and other public collections worldwide, and he received a lifetime achievement award from the International Sculpture Center in 1997.
After working as an assistant to Henry Moore and teaching art in London from the 1950s onwards, Caro first came to international recognition in the 1960s with his large-scale, abstract sculptures. These early works were among the first freestanding sculptures to be set directly on the ground. The series was revolutionary for confronting viewers head-on at a time when most monumental sculpture was still displayed on pedestals. It was during this period when Caro began his strong associations with the United States. In the 1960s Caro taught at Vermont’s Bennington College, and in 1982 he founded Triangle Artists’ Workshop in Pine Plains, New York, where he provided a working environment for painters and sculptors from around the world.
Caro is the only contemporary sculptor to have exhibited at The National Gallery, London (1998). Other major exhibitions include retrospectives at the Museum of Modern Art, New York (1975); the Trajan Markets, Rome (1992); the Museum of Contemporary Art, Tokyo (1995); Tate Britain, London (2005); three museums in Pas-de-Calais, France (2008) to accompany the opening of his Chapel of Light at Bourbourg; The Metropolitan Museum of Art, New York (2011); The Yale Center for British Art, New Haven (2012); the Museo Correr, Venice (2013) and again at the Tate Britain, London (2014). His work has been collected by museums around the world.
All images Anthony Caro © Barford Sculptures Ltd.
Caro in Yorkshire is a major Yorkshire Sculpture Triangle project that celebrates and commemorates the extraordinary career of SIr Anthony Caro (1924–2013). Distinct yet complementary exhibitions at The Hepworth Wakefield and Yorkshire Sculpture Park consider respectively Caro's concerns with the horizontal plane and painting, given context through an academic programme at the prestigious Henry Moore Institute, Leeds.
Please join us at our Chelsea location on Saturday, November 8 from 4 to 6 pm for the launch of the new monograph Anthony Caro, published by Phaidon.
Anthony Caro Monograph Launch
Saturday, November 8, 4 – 6 p.m.
Mitchell-Innes & Nash
534 West 26th Street
New York, NY 10001
Mitchell-Innes & Nash is pleased to announce an installation of sculptures by Sir Anthony Caro on The Metropolitan Museum of Art’s Iris and B. Gerald Cantor Roof Garden opening April 26. This selection of works spans the artist’s career to date and will highlight his principle contributions to sculpture: engagement with form in space, dialogue between sculpture and architecture, and the creation of abstract analogies for the human figure and landscape. The exhibition will be on view in the Museum’s dramatic, nearly 8,000-square-foot open-air space offering unparalleled views of Central Park and the New York City skyline. Anthony Caro on the Roof will be the 14th consecutive single-artist installation on the Cantor Roof Garden.
Mitchell-Innes & Nash is pleased to announce the public commission by Sir Anthony Caro at the Eglise Saint-Jean de Baptiste of Bourbourg and a major retrospective of the Artist's work in France presented simultaneously at the museums of Calais, Dunkirk and Gravelines. Eglise Saint-Jean Baptiste de Bourbourg Chapel of Light/ Chœur de lumière
800 gallons of water is an abstract concept, until you see its volume cascade before your eyes into a cavernous holding tank. Then, that amount of water becomes visceral. It’s mesmerizing to sit before a specific amount of water, and contemplate the ways we use, exploit, and waste this most important of resources on a regular basis. This is the experience of witnessing Choir (2019), artist Pope.L’s gallery-filling installation currently on view at the Whitney Museum of American Art.
English artist Anthony Caro left an enormous legacy when he died in 2013 at age eighty-nine. He was celebrated for his sculpture in Britain by the late 1950s, and internatinoally beginning in the early '60s.
There is an unmistakable ashes-to-ashes, dust-to-dust, circle-of-life quality, an equally youthful then mature balance of roughness and polish that only occurs at either end of life.
Another saying that comes to mind is, live by the sword, die by the sword. An old friend once told me, “You better hope what you did as a kid was good, because you always go back to it.”
In the excellent exhibition “Anthony Caro: First Drawings Last Sculptures,” which occupies both Mitchell-Innes & Nash locations, the pieces do a little of everything while adding something new: thick slabs of tinted or clear Perspex (acrylic sheets). The sculptures in Chelsea are especially powerful in scale and size. But as you walk around them, viewing their structures from different sides, noting the collusions of metal and plastic, human perception seems scrupulously accounted for.
In the early years of his career, Anthony Caro worked on a series of twisting, enigmatic depictions of human and animal figures, works that owed much to the spatial interrogations of Picasso and the broader canon of 20th Century European abstraction. The works are impressive in their understanding of the gestural and conceptual operations of the era’s avant-garde, but for Caro’s career, served in part as a starting point for his own engagement with space, not only on paper or canvas, but in three dimensions.
Once a cartoonish vibe takes hold of the works, the weighty hunks of steel in them start seeming faintly comic as well. Some of Caro’s steel consists of repurposed found objects: a hopper used to cart sand; a chunk from some kind of gantry. Rather than being elevated from their humble origins thanks to Caro’s high art, these objects now seem to keep Caro’s art down-to-earth – almost like found anchors that keep his foofy acrylic from blowing away.
With an Anthony Caro show currently on view at Mitchell-Innes & Nash gallery in New York, we turn back through the ARTnews archives. Because the show brings together very early and very late work from the British artist’s career, we have selected one old excerpt, by Lawrence Alloway, and one new sample, by William Feaver, who in 2014 wrote an essay following Caro’s death the year before.
This is the artist’s first exhibition in the US since his death in 2013 and his sixth with Mitchell-Innes & Nash, who has exclusively represented Caro in New York for 14 years. The exhibition features work spanning Caro’s 60-year career and highlights the artist’s fearless and constant innovation throughout his lifetime.
The exhibition brings together late British artist Sir Anthony Caro’s works spanning his sixty years career highlighting the artist’s fearless and constant innovation.
For the first U.S. exhibitions of Caro’s work since his death in 2013, the gallery mounts two concurrent shows, at its Chelsea and Upper East Side locations, featuring works that bookend the great sculptor’s innovative, 60-year career.
There’s always more to discover in Antony Caro’s sculptures, miraculously refined compositions of sometimes scrappy industrial materials.
The sculptor passed away a year ago this month, just as his major show in Venice was coming to a close. He is remembered here by the photographer who was working with him, and in a new book about his life and art.
Art Historian, Michael Fried, and artist, Charles Ray, discuss the life and work of Anthony Caro.
Sculptor Anthony Caro delighted in instigating huge challenges for himself.
Earlier this year, Jon Isherwood sat down with longtime friend Sir Anthony Caro in his London studio. The idea was simple: Would it be interesting to generate a conversation between two sculptors whose work is very diferent, but who share many common influences? In some ways, their discussion was simply an extension of an ongoing dialogue that has lasted for more than three decades, ranging across many topics, from studio practice and artistic process to their shared connnection with Bennington College in Vermont.
No one in the 1960s produced livelier, more infectiously playful sculpture than the British artist Anthony Caro, five of whose works now grace the Metropolitan Museum of Art’s rooftop garden. “Anthony Caro on the Roof” runs through Oct. 30 at the Metropolitan Museum of Art; (212) 535-7710, metmuseum.org.
Although he is widely viewed as Britain’s greatest living sculptor, received a knighthood 20 years ago and has been the subject of countless museum retrospectives, Anthony Caro has yet to have an exhibition in New York’s Chelsea, the epicenter of today’s contemporary art scene. But this fall, he will finally have his Chelsea moment.