{"title":"Anthony Caro","description":"\u003cp\u003eAnthony Caro (1924–2013) was a British sculptor whose shift from figurative bronze to large-scale, ground-level painted-steel construction in the early 1960s established him as a central figure in postwar abstract sculpture. Closely associated with Clement Greenberg and the New Generation of British sculptors he taught at St Martin's, his work rejected the pedestal and the monolithic in favour of openness, colour and spatial extension. He represented Britain at the Venice Biennale in 1966 and received a major retrospective at the Hayward Gallery, London, in 1969.\u003c\/p\u003e","products":[{"product_id":"art-and-artists-june-1966-venice-biennale-number","title":"ROY LICHTENSTEIN — Art and Artists, Vol. I, No. 3, June 1966 — Venice Biennale Number","description":"\u003cp\u003e\u003cem\u003eArt and Artists\u003c\/em\u003e, Vol. I, No. 3. London: Hansom Books, June 1966. Venice Biennale Number. 21 × 28 cm, 90 pp. Staple-bound periodical; offset-printed illustrated wrappers; black-and-white and colour illustrations throughout.\u003c\/p\u003e\u003cp\u003ePublished to coincide with the 33rd Venice Biennale. The cover carries a Roy Lichtenstein image at the moment when Pop was becoming an international exhibition language rather than only an American phenomenon. Contents include features and documentation around Lichtenstein, Anthony Caro, Helen Frankenthaler, Andy Warhol’s Clouds, Peter Phillips, Gerald Laing, Carl Andre, and the wider New York presence in Venice. Rear cover: Rowney Cryla Colours advertisement.\u003c\/p\u003e\u003cp\u003eThe issue converts the Biennale into printed form: cover image, captions, criticism, advertisements, and institutional names arranged for circulation. It is not a document of the exhibition. It is a portable version of it — a surface on which the same names, the same works, and the same arguments pass through a different economy of attention. Pop, Minimalism, Colour Field painting, and post-war sculpture recorded before their later canonisation, when the terms were still being negotiated through pages, reviews, and reproductions.\u003c\/p\u003e\u003cp\u003eA primary-source object from the early infrastructure of contemporary art publishing.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Light creasing, rubbing, edge wear, minor spine tears, and age toning throughout. Internally clean and complete.\u003c\/p\u003e","brand":"Hansom Books","offers":[{"title":"Default Title","offer_id":53783327375698,"sku":"LICHTENSTEIN-ARTANDARTISTS-CAT-1966","price":130.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Lichtenstein_Roy_etc._ART_AND_ARTISTS_JUNE_1966_VOLUME_ONE_NUMBER_THREE._1966_front.jpg?v=1781759773"},{"product_id":"anthony-caro-hayward-gallery-arts-council-1969","title":"ANTHONY CARO — Hayward Gallery, Arts Council of Great Britain, London, 1969","description":"\u003cp\u003eHayward Gallery, London, 24 January–9 March 1969. Exhibition catalogue published by the Arts Council of Great Britain, London, 1968. Introduction by Michael Fried. Square softcover; photographic wrappers; black-and-white and colour reproductions throughout. 23 × 23 cm.\u003c\/p\u003e\u003cp\u003e\"Father in sculpture\" is how Anthony Caro later described Henry Moore. By 1969, the family relationship had become an art-historical position.\u003c\/p\u003e\u003cp\u003eCaro had entered Moore's studio at Perry Green in the early 1950s as an assistant. The proximity was real and the inheritance initially visible. The early works reproduced here—\u003cem\u003eMan Holding his Foot\u003c\/em\u003e (1954), \u003cem\u003eWoman Waking Up\u003c\/em\u003e (1955)—still belong to a world of modelling, bronze, figure and bodily mass. Caro learned modern British sculpture from inside the room in which much of its authority was being produced.\u003c\/p\u003e\u003cp\u003eThen he left the room.\u003c\/p\u003e\u003cp\u003eAmerica in 1959 brought David Smith, Clement Greenberg and Kenneth Noland into view. Back in Britain, Caro began removing the signs by which sculpture had previously announced itself. Bronze became industrial steel. Modelling became construction. Colour arrived. The pedestal disappeared. By his 1963 Whitechapel exhibition, Moore's former assistant had developed a language that looked remarkably unlike the one he had inherited.\u003c\/p\u003e\u003cp\u003eCaro understood that the shift must have felt to Moore like rejection. It was also succession.\u003c\/p\u003e\u003cp\u003eBy 1967, the separation had moved beyond form and into the institution. Caro was among the artists who objected publicly to the terms surrounding Moore's proposed gift to Tate. The question was no longer simply what sculpture should look like. It was who would be allowed to occupy the position of British sculpture itself.\u003c\/p\u003e\u003cp\u003eThen the chronology becomes almost indecently tidy.\u003c\/p\u003e\u003cp\u003e1968: Henry Moore at Tate. The master, seventy, institutionalised at monumental scale.\u003cbr\u003e1969: Anthony Caro at the Hayward. The former assistant, presented retrospectively as the figure through whom another account of sculpture could now be organised.\u003c\/p\u003e\u003cp\u003eMoore at Tate. Caro at the Hayward. The transfer is not quite official. But it is difficult not to see it.\u003c\/p\u003e\u003cp\u003eAnd this catalogue does more than record the occasion. Its sequence converts development into argument: the figurative bronzes first, then \u003cem\u003eMonth of May\u003c\/em\u003e, \u003cem\u003eCarriage\u003c\/em\u003e, \u003cem\u003eSpan\u003c\/em\u003e and the open painted-steel constructions of the 1960s. Michael Fried provides the critical language. The Arts Council provides publication. The Hayward provides the institutional address. Biography becomes sequence. Sequence becomes position. Position enters circulation as a book.\u003c\/p\u003e\u003cp\u003eThe human body apparently disappears along the way, yet it never quite leaves. Caro's steel works continue to operate through weight, reach, balance, interval, obstruction and movement. He abandoned Moore's image of the body without abandoning the body as sculpture's measure. Perhaps that is the sharper inheritance.\u003c\/p\u003e\u003cp\u003eCondition: good. Visible rubbing, handling, edge wear and surface marking to wrappers; light age toning internally. A used copy with its circulation intact.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Arts Council of Great Britain","offers":[{"title":"Default Title","offer_id":54273998520658,"sku":null,"price":65.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Caro_Anthony.HaywardGalleryshowcatalogue.1968.jpg?v=1786853659"}],"url":"https:\/\/thenewrare.com\/collections\/anthony-caro.oembed","provider":"The New Rare","version":"1.0","type":"link"}