ART CITIES:N.York-Anthony Caro

Considered to be one of the greatest sculptors of the last 50 years, Anthony Caro took the norms and even the definitions of sculpture in new directions. In the early ‘60s he abandoned his earlier, figurative way of working which involved modelling in clay and casting in bronze, and began to make purely abstract works, sculpture constructed and welded in steel, comprising beams, girders and other found elements painted in bright colours. Such works caused a sensation, provoking a response from some critics that these constructions were not sculpture at all.

By Dimitris Lempesis
Photo: Mitchell-Innes & Nash Gallery Archive

Focusing on early drawings and late sculptures the exhibition “Anthony Caro: First Drawings Last Sculptures” is on presentation at both spaces of Mitchell-Innes & Nash Gallery in New York. Throughout the 80s and 90s, Caro continued to introduce new materials into his work including silver, iron, bronze, brass, ceramic, terracotta, and wood. Shortly before his death (23/10/2013) Caro began to experiment with Plexiglas, a material that he had only employed in one previous sculpture, the “Duccio Variations No. 5” (2010). It also provided greater opportunity to experiment with colour, many of the works of this series employ coloured sheets of Plexiglas, which contrast with the rusted steel or wooden structures into which they are incorporated. In the Chelsea Gallery, 6 large-scale steel and Plexiglas sculptures from the period 2011-2013 are juxtaposed against 4 coloured paintings on paper from the ‘50s, on view for the first time in the US. “Terminus” (2013), is a bright red piece of Plexiglas that bisects a steel and wood composition. The artificially colored red Plexiglas highlights the rusted steel. “Autumn Rhapsody” (2011-12), in which Caro uses a striking yellow Plexiglas to cover and complement the painted yellow steel structure beneath, will also be on view. These sculptures are displayed alongside equally colourful brush, ink, and paint works on newsprint. In these little known works on paper, black outlines of figures are filled in with blocks of color like stained-glass windows. The fact that he started working with Plexiglas shortly before his death is testament to his artistic courage and curiosity. In the Madison Avenue gallery, are 4 steel, bronze, and brass sculptures a selection of black-and-white ink works on paper from the ‘50s. A similar dialogue between works on paper and sculptures is examined at Madison Ave gallery, with a focus on line. A selection of black-and-white drawings featuring expressionistically painted images of bulls and men highlight the linear qualities of the steel, bronze and brass sculptures on view.

Info: Mitchell-Innes & Nash Gallery, 534 West 26th Street, New York, Duration: 8/12/1-4/2/17, Days & Hours:Tue-Sat 10:00-18:00 & 1018 Madison Avenue, New York, Duration: 8/12/1-4/2/17, Days & Hours: Mon-Fri 10:00-18:00, www.miandn.com