| Anthony Caro Contributor(s): Moorhouse, Paul (Author) |
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ISBN: 1854375091 ISBN-13: 9781854375094 Publisher: Tate Publishing(UK) OUR PRICE: $40.50 Product Type: Paperback - Other Formats Published: April 2005 Annotation: Anthony Caro (b. 1924) is widely regarded as Britain's greatest living sculptor and has enjoyed an international reputation since the early 1960s. Although best known for his work in steel, Caro has also worked in bronze, wood, lead, ceramics, and paper, on both large and intimate scales. Since the 1980s, the range of Caro's work has increased, encompassing sculpitecture (sculpture that the viewer can enter); large-scale works that allude to classical architecture; and sculptures that respond to earlier works by such masters as Rubens, Manet, and Matisse. This extensively illustrated book includes an overview of Caro's career by Paul Moorhouse, as well as critical essays by Michael Fried and Dave Hickey. This publication accompanies a major retrospective exhibition of Caro's work opening at Tate Britain in January 2005 and is the most up-to-date survey of Caro's work in print. |
| Additional Information |
| BISAC Categories: - Art | Individual Artists - General - Art | Sculpture & Installation |
| Dewey: 730.92 |
| LCCN: 2004111330 |
| Physical Information: 0.65" H x 9.7" W x 11.66" (2.17 lbs) 176 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: Anthony Caro (born 1924) is widely regarded as 'Britain's greatest living sculptor' (The Guardian, 2003) and has enjoyed an international reputation since the early 1960s. This publication accompanies a major retrospective exhibition of Caro's work at Tate Britain in January 2005. Caro studied at Regent Street Polytechnic and the Royal Academy Schools, before working as Henry Moore's assistant between 1951 and 1953. His work changed radically following a visit to America in 1959, when he met the sculptor David Smith, the painter Kenneth Noland and the critic Clement Greenberg. In 1960 he began making purely abstract sculptures constructed and welded in steel, comprising beams, girders and other found elements painted in bright colours. 'I think my big break in 1960 was in challenging the pedestal, killing statuary, bringing sculpture into our lived-in space', Caro wrote. The exhibition of these works at the Whitechapel Gallery in 1963, caused a sensation and heralded a revolution in sculpture. Within a short period, conventional ideas about materials, method, surface, scale, form and space were overturned by his radical reworking of all these elements. This recognition was parallel |