20 September 2012

Anthony Caro (selected works) from Book: Anthony Caro by Giovanni Carandente, 1992

P48, First National, 1964

PIX, End Game, 1971-74

PII, After Olympia, 1986-87


PXIII, Sun Feast, 1969-70

Book: Anthony Caro 
Arther: Giovanni Carandente
Puplisher: Fabbri Editori, 1992
Photographer: Aurelio Amendola

Note: Pictures were scanned from this book. 

The Eye - Anthony Caro DVD 2005

Today I have decided to do an article on Anthony Caro because recently I watched for the first time a short documentary about him talking about some of his works from his early stages of producing figurative sculptures, then progressing to his more abstract later sculptures. This then lead me to go check out some of his books and I discovered this one that caught my eye listed in this article. Firstly I really enjoy looking at books that have great full colour images and this one is no exception and secondly this was the first time I have seen his works placed in a space like this. I will talk about this book a bit later on, but firstly I would like to go through some notes made from observing this DVD documentary.

From my own interpretation from the DVD I noted...
  • He wants to put things in a way that is readable.
  • The work has got its own character and life.
  • He thinks about his own activity.
  • Perhaps he felt that he did not want his newer work to be hooked into history.
  • He felt with his newer work he was getting into the tradition of cubism which he felt had not been explored enough.
  • How you respond to sculpture, how the viewer sees the sculpture is vital. Its not something you can experience instantly from one angle, you have to walk all the way around it to get it.
  • Some sculpture he painted to see the effects, it became an important aspect.
  • A breakthrough came about when he stopped colouring his sculpture. He felt they would become too decorative. He started to use pieces of steel that had a decorative element to them, pieces that were slightly bent or rusted etc. It was much more earthy and routed in our problems, he wanted it to do with a bit more about us and the lives we live.
  • He also experimented with placing his sculpture in different positions say on tabletops. It seemed he was testing out possibilities.
  • When he goes to the workshop he goes unprepared, he responds to place, how the materials feels etc.
  • It seems he enjoys working with found materials say from the scrap-yard, seeing which objects speak to him, what has potential.
  • Its a dialogue between the sculptors materials, ideas and his character. He has got to let it all speak, he thinks he has got to respond but he can not force upon things.
  • Scale is vary important, he wants his sculpture to have a relationship to us.
  • He has always followed his own instinct, and when he makes his work he just wants to get it rite for himself, if it douse not look rite then it is not finished.

It's quite a lot of information but I felt watching his interview and hearing his own coments about his practice and work very informing in that I could realy feal the undertone and meaning about the work. 

Getting back to the book, it was interesting to see how his work is seen when placed outside in a setting like this. These pictures were from an exhibition of his in Rome at the Trajan's Markets, 1992. In some cases it seems you can compare the new with the old as the place acts as a kind of backdrop to which you can identify a past. I also like the way for example the piece 'After Olympia, 1986-87' looks as though it was built for that room as you can see a relationship from the colour of the work to the colour of the interior of the building. The work seems to to respond to space and looks like its expressing movement and there almost like compositions of elements on a canvass that is the space there in. It is surreal looking at the photos as they do look like painting but you know they are real objects.

I have never seen Anthony's work in person but it would be interesting to experience it my self as I would see and experience it differently. 

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