Anthony Caro, Wandering, 2012. Steel (rusted), 262 x 790 x 173 cm. Private Collection. © Barford Sculptures Ltd. Photo by John Hammond.
Anthony Caro’s Late Works: The Life and Process of Sculpture
Friday December 9, 2016
Dr. Anne Tanenbaum Gallery School
Members $10 | Public $19.50 | Students $11
Tickets include admission to the exhibition following the roundtable discussion.
Art Gallery of Ontario
317 Dundas Street West
Toronto Ontario M5T 1G4
T +1 877 225 4246 | www.ago.net
When Sir Anthony Caro (British, 1924-2013) experienced his artistic breakthrough in 1960, he redefined the medium of sculpture. Moving beyond the practice of casting in bronze elaborately modelled, figurative sculptures resembling the work of Henry Moore (British, 1898–1986), Caro began to weld and to bolt prefabricated steel and aluminum elements into configurations that have been interpreted by some as pure abstractions. Caro continued to create abstract sculptures up to his death in 2013. Four of his late works, some of the most ambitious the artist has ever produced, are installed in Anthony Caro: Sculpture Laid Bare, an exhibition organized by the Art Gallery of Ontario.
Caro once said that art is “about living.” Join us for a conversation about how Caro breathed life into the medium of sculpture with Julius Bryant, Keeper of Word & Image at the Victoria and Albert Museum, London, UK, Caro’s former studio assistants Patrick Cunningham and Jon Isherwood, and New York-based curator and critic Karen Wilkin. The panel will be moderated by exhibition curator, Kenneth Brummel, the Art Gallery of Ontario’s Assistant Curator of Modern Art, and introduced by Paul Caro, the artist’s son. While the focus of the discussion will be on Caro’s studio practice and on his late works, the entire span of this artist’s long and influential career will be considered.
This event is presented in conjunction with the exhibition Anthony Caro: Sculpture Laid Bare. Roundtable participants will offer audience members a tour of the exhibition after the discussion.
Generously supported by
Audrey and David Mirvish