NEW HAVEN, CONN.-
With a career spanning more than sixty years, Sir Anthony Caro (b. 1924) is Britains most acclaimed sculptor since Henry Moore. This October, the Yale Center for British Art
premiered an exhibition bringing together more than sixty works by the artist. Featuring early drawingsmany of which have rarely or never been exhibitedand small-scale sculptures in a range of media dating from the 1950s to the present, the exhibition is drawn from Caros studio and family collections, and private lenders in the US and UK, with key loans from the Museum of Modern Art, New York (MoMA), and the Metropolitan Museum of Art. This selective survey is the first major exhibition of Caros work to be held in an American museum since his retrospective at MoMA in 1975. Concurrently with Caro: Close Up, the Center displays modern and contemporary works from its permanent collection by artists whose practices both influenced and dramatically diverged from those of the sculptor and his peers.
A pivotal figure in the development of sculpture for over half a century, Caro is represented in major museum collections around the world, and his work has been exhibited internationally. Having begun as a maker of figurative sculpture, Caro dramatically transformed his art in 1960, following an extended visit to America, where he encountered the work of Kenneth Noland, Jules Olitski, and David Smith. The series of large-scale abstract constructions he created in the 1960s became his signature works and launched him as a major modernist sculptor. Caros art, championed early on by the American critic Clement Greenberg, became as well known in America as in Britain, and his career was transatlantic from the outset.
The exhibition begins with Caros early figurative drawings and sculptures, and traces his development as an abstract artist in steel and his later incorporation of a wide range of materials in collage-like sculpture. Although Caro made his name with large-scale constructions, famed for their abandonment of the pedestal, he continued to make smaller, even intimate works, which demand a different approach and working process.
The exhibition reveals how he grappled with problems of scale and display without returning to old conventions.
Drawing has always been central to Caros practice, not for designing sculptures, but as another part of his private work. Usually stored in the studio archive, only a handful of his drawings have ever been exhibited. Those selected for Caro: Close Up range from life studies made when Caro was a student at the Royal Academy and annotated by Henry Moore, for whom he worked, to expressionistic studies of bulls and bestial figures dating from the early 1950s. Shown together with the small-scale sculptures, these works provide fresh insight into the visual research behind Caros more familiar, abstract art.