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	Meadows Museum of Fine Art at Southern Methodist University, Dallas, Texas (Site not responding. Last check: 2007-10-22)
		Caro first came to public attention in 1963 at the Whitechapel Gallery in London with an exhibition of sculptures that were large, abstract and brightly painted.
		Caro holds several honorary degrees from universities in the United Kingdom, Europe, and the United States, and will be honored in 2004 with a full-scale retrospective at London's Tate Gallery on the occasion of his 80th birthday.
		Anthony Caro: The Emma Series and After was organized by the Frederik Meijer Gardens and Sculpture Park in Grand Rapids, Michigan, where it was exhibited this summer.
	www.meadowsmuseumdallas.org /Caro.htm (345 words)

	Anthony Caro - Wikipedia, the free encyclopedia
		Sir Anthony Caro, OM (born 8 March 1924) is an English, abstract sculptor whose work is characterised by assemblies of metal using 'found' industrial objects.
		Caro found international success in the late 1950s and for a time was popular in the US.
		He was also influential as a tutor at St Martins School of Art, now Central Saint Martins College of Art and Design in London inspiring a younger generation of abstract British Sculptors led by his one time assistant Phillip King as well as reaction group including Bruce McLean, Richard Long and Gilbert and George.
	en.wikipedia.org /wiki/Anthony_Caro (321 words)

	Anthony Caro -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-22)
		Caro found modernism when working as an assistant to (British sculptor whose works are monumental organic forms (1898-1986)) Henry Moore in the (The decade from 1950 to 1959) 1950s.
		Caro found international success in the late1950s and for a time was popular in the US.
		Caro is often credited with the significant innovation of removing the sculpture from its plinth, although Smith and (Romanian sculptor noted for abstractions of animal forms (1876-1957)) Brancusi had both previously taken steps in the same direction.
	www.absoluteastronomy.com /encyclopedia/a/an/anthony_caro.htm (252 words)

	Anthony Caro Biography / Biography of Anthony Caro Biography Biography
		Anthony Caro was born in London on March 8, 1924.
		Moore's impact was revealed not only in Caro's intense interest in the nature and inherent properties of the various materials with which he worked but also in his retention of the human form cast in bronze.
		Caro also continued to experiment with a vast repertoire of materials and to explore the full spectrum of scale relationships that made him one of the most formative influences on the younger generation of British sculptors.
	www.bookrags.com /biography-anthony-caro/index.html (735 words)

	david cohen on anthony caro at 80
		Caro, the sculptor shares with the entertainer a protean capacity for personal reinvention while never leaving the viewer in any doubt that a piece is his.
		Caro has been celebrating his 80th year with a slew of exhibitions and publications that mark his stature as one of the giants of sculpture of the last 100 years, which will culminate, later this month, with London’s Tate Modern’s much anticipated retrospective.
		Caro’s great critical champion Michael Fried once put it, his art is concerned with “internal and exhaustive relations.” The 1960s works, with their raw, exposed syntax, were clearly in tune with that decade’s obsession with semiotics, with laying bare the interstices of language and social structures.
	www.artcritical.com /DavidCohen/SUN86.htm (1591 words)

	Some wag in the artworld once said that sculpture is what you trip over in a gallery when you step back to get a better ...
		Caro belongs to the modernist tradition of sculpture in that he stresses the physicality of sculpture, its working "in the round" - abolishing any sense of a single-point perspective - and in that he uses modern, experimental materials.
		Caro himself prefers to account for the shift in his work in a way that stresses continuity.
		Caro's great champion at the outset of his career was the guru of post-war formalist art criticism, the American Clement Greenberg, who proclaimed him the greatest English artist since Turner, not to mention the leading sculptor of his day (the successor of Picasso, Gonzalez and David Smith).
	www.artcritical.com /dc'sdozen/caro.htm (1629 words)

	Grounds For Sculpture: Collection
		Anthony Caro has been hailed as one of the foremost sculptors and influential teachers of the post-war years.
		On Caro's first trip to the United States in 1959, he became acquainted with the works of David Smith and was greatly influenced by this American artist's assemblages of steel and iron.
		Caro, in turn, adopted the non-traditional technique of welding found or prefabricated metal elements and, using his own formal and structural vocabulary, created linear, abstract compositions.
	www.groundsforsculpture.org /c_acaro.htm (193 words)

	Anthony Caro (Site not responding. Last check: 2007-10-22)
		This comprehensive retrospective of Anthony Caro's work demonstrates beyond question that his mature work, now covering some 45 years, challenges and often inverts many of our most cherished presumptions about the nature of sculpture.
		Although Caro has had an important influence on the development of British sculpture - partly through his work and partly through his teaching at St Martin's School of Art in London - it is significant that the formative forces upon his own work came as much, or more, from abroad as from Britain.
		Caro's early mature pieces, such as 'Early One Morning' (1962) or 'Month of May' (1963) invite us to engage with the object in terms of a distillation of plastic and kinetic sensations, including notions of weight, lightness, tension and balance.
	www.studio-international.co.uk /sculpture/caro.htm (990 words)

	Guardian Unlimited \| Arts features \| Anthony Caro, Tate Britain, London
		Caro at his best is all about openness and closure, an abstraction of corralled spaces, of verticals, diagonals, broken rhymes and rhythms, see-through lattices and surprising jump-cuts.
		Caro's sculptures, at least through the 1960s and 1970s, allow us to think we can get a grip on meaning and imagery, then constantly disassemble and rearrange themselves as we navigate our way around their forms, until at the end we are forced to conclude that these works are only themselves, whatever that is.
		Caro's work was somehow caught up in these style wars and arguments, not least because of his long association with the sculpture course at Saint Martins college, and the kind of thinking and talking that it generated.
	www.guardian.co.uk /arts/features/story/0,11710,1397956,00.html (1386 words)

	Acquavella: Anthony Caro's Biography
		Anthony Caro was born in London in 1924 and studied engineering before enrolling at the Royal College of Art in London from 1946 through 1952.
		From 1963 -1965, Caro taught at Bennington College in Vermont where he was associated with fellow instructors the painters Jules Olitski, Helen Frankenthaler and Kenneth Noland.
		In 1960, Caro made his first abstract sculpture in steel, followed in 1961 with the first painted or polychrome sculpture.
	www.acquavellagalleries.com /main/artist_bio.cfm?artist_id=82 (190 words)

	Art in America: Anthony Caro at Mitchell-Innes & Nash - sculpture exhibition (Site not responding. Last check: 2007-10-22)
		Anthony Caro's figurative bronzes of the early 1950s recall his academic training and his association with Henry Moore.
		In a catalogue essay by Dave Hickey, Caro is described as spotting the gymnastic equipment and in "a flash of Blakean vision" seeing the ensemble as the mounts of marauding barbarians.
		Caro's figures, like the Chinese examples, have detachable hands and heads that were individually crafted and mounted.
	www.findarticles.com /p/articles/mi_m1248/is_6_91/ai_102793139 (574 words)

	Acquavella: Anthony Caro 1982-1984 Four Phases
		It follows immediately after the Caro retrospective organized by the British Arts Council at the Serpentine Gallery in London this spring which is now just beginning to tour to Manchester, Leeds, Copenhagen, Dusseldorf and Barcelona.
		As was the case with Caro's earlier bronzes, these pieces are not cast as a single entity nor in editions; each is a unique, individual assemblage of bronze parts.
		Caro has said that he wanted less treble and more bass in his sculptures: this thrust is evident in all of his recent pieces.
	www.acquavellagalleries.com /main/selectedcatalogue.cfm?catalog_id=41&lightup=3 (439 words)

	BBC - BBC Four - Audio Interviews - Anthony Caro
		Caro studied sculpture in London from 1946-52, and then served as an assistant to Henry Moore for two years.
		In the 1980s, Caro returned to a more traditional style, working in bronze, and in the next decade created a series of sculptures describing the Trojan Wars that combined clay, metal and wood, and were semi-figurative in character.
		In 2000, Caro's work reached a far wider public with his contribution to the Millennium Bridge across the Thames, spanning the river from St Paul's to the Tate Modern at Bankside, which he devised in collaboration with architect Sir Norman Foster.
	www.bbc.co.uk /bbcfour/audiointerviews/profilepages/caroa2.shtml (300 words)

	Peggy Guggenheim Collection - Artists - Sir Anthony Caro (1924- ) (Site not responding. Last check: 2007-10-22)
		The early sixties are known as Caro’s 'breakthrough’ period, when he abandoned figurative modeling or carving, and created revolutionary assemblages, welded and bolted, of factory-produced 'found' metals.
		With this Caro at a stroke placed himself in the sculptural tradition of Picasso, Julio Gonzalez and David Smith.
		Consequently, like the Minimalist art that was emerging in America at about the same time, Caro’s work has an unprecedented force as a mere object, occupying physical space without pretending to represent some other material (flesh and bone for example) and without embodying a literary meaning (as a symbol or a narrative).
	www.guggenheim-venice.it /testdemo/pgc04/english/06_artists/Caro.htm (488 words)

	david cohen on anthony caro at artemis van greenberg, michael steiner at salander-o'reilly, morris louis at paul kasmin
		Caro has devoted a career to breaking rules: first the received ones that greeted his arrival on the scene in the late 1950s, and subsequently the ones he invented himself, often to be followed dogmatically by acolytes.
		Caro the pure formalist he has been cracked up to be: There are complex language games at play, as components both shed and regain their powers of signification.
		Caro at the outset of his career, Michael Steiner was the "white hope" for an American link in the constructivist chain.
	www.artcritical.com /DavidCohen/SUN33.htm (1041 words)

	Art around the world
		Anthony Caro's Sidestep is an example of 'new generation' sculpture that originated in the United Kingdom in the 1960s.
		Caro led the way in developing a radical abstraction that instigated a move away from expressionistic sculpture.
		Caro's employment of found, industrial materials and abandonment of the pedestal, were ideas that also gained currency in Australia in the late 1960s and early 1970s.
	www.dcita.gov.au /cgp/artworldpages/artworld03.html (115 words)

	Anthony Caro, Quest for the New Sculpture
		Anthony Caro is internationally recognised as one of the greatest modernist sculptors.
		Caro's working processes and views on sculpture are detailed both through an engaging chronological examination of his entire development and through previously unpublished documentary images of the exhibitions, places and personalities that influenced his work.
		He worked on Caro's retrospective exhibition at the Museum of Modern Art, New York in 1975 whilst he was Exhibitions Officer and subsequently Assistant Director of the Fine Arts Department of the British Council from 1973 to 1985.
	www.lundhumphries.com /pages/single/11830.html (315 words)

	artnet.com: Resource Library: Caro, Anthony (Site not responding. Last check: 2007-10-22)
		On his return Caro began welding standardized metal units into abstract configurations, which were then further unified by being painted in a single primary colour.
		Caro denied the weight, appearance and attendant connotations of the material and made sculpture which seemed almost to hover above the ground, touching it lightly at several discrete points.
		Caro’s example can be said to have created a new school in its wake.
	www.artnet.com /library/01/0141/T014196.asp (534 words)

	Greenberg:Caro:In The Studio
		sculptors of the late 20th Century, Sir Anthony Caro rose to prominence in the '60s with the encouragement of Greenberg and welcomed the latter's presence in his studio for four decades.
		Caro has openly acknowledged his debt to Greenberg throughout and -- unlike some of his contemporaries -- appears to have survived it intact.
		And with good reason: Caro is one of the most prolific and accomplished artists since Picasso, and -- like Picasso -- has had a profound influence upon his younger contemporaries.
	www.sharecom.ca /greenberg/studio.html (921 words)

	Tate Britain \| Anthony Caro
		Sir Anthony Caro is widely regarded as one of the world's greatest living sculptors.
		It continues with Caro's exploration of the dialogue between sculpture and architecture from the 1980s onwards, combined in his recent work with a renewed involvement with the human figure.
		This retrospective Anthony Caro fills the Level 2 Exhibition Galleries as well as the central Duveen galleries with significant sculptures from public and private collections in the UK, USA and Europe.
	www.tate.org.uk /britain/exhibitions/caro (167 words)

	Caro - Wikipedia, the free encyclopedia
		Caro is a commune in the Pyrénées-Atlantiques département, in France.
		Caro is also a city in Michigan in the United States.
		This is a disambiguation page, a list of pages that otherwise might share the same title.
	en.wikipedia.org /wiki/Caro (97 words)

	21ST CENTURY BRITISH SCULPTURE \| Sir Anthony Caro OM
		Anthony Caro was born in 1924 in New Malden, Surrey.
		Caro often works in steel, but also in a diverse range of other materials, including bronze, silver, lead, stoneware, wood and paper.
		Caro was knighted in 1987 and received the Order of Merit in May 2000.
	www.sculpture.org.uk /biography/SirAnthonyCaro (368 words)

	Encyclopedia: Anthony Caro (Site not responding. Last check: 2007-10-22)
		Abstract art is now generally understood to mean art that does not depict objects in the natural world, but instead uses shapes and colours in a non-representational or non-objective way.
		Anthony Caro - Dream City, Steel, 1996 Currently display at the Yorkshire Sculpture Park Photograph © Andrew Dunn, 2004.
		He was also influential as a tutor at St Martins School of Art, now Central Saint Martins College of Art and Design in London inspiring a younger generation of abstract British Sculptors led by his one time assistant Philip King as well as reaction group including Bruce McLean, Richard Long and Gilbert and George.
	www.nationmaster.com /encyclopedia/Anthony-Caro (794 words)

	The Metropolitan Museum of Art - Works of Art: Modern Art
		In the early 1950s British sculptor Anthony Caro created figurative bronzes that reflect his academic training and his assistantship with Henry Moore.
		During the mid- to late 1950s Caro retained his interest in figurative subjects but developed a style related to that of Abstract Expressionist painting.
		Caro's work of the 1960s in welded metal differs markedly from that of his predecessors in its horizontal orientation, low placement (often below eye level), and brightly painted surfaces.
	www.metmuseum.org /collections/view1.asp?dep=21&full=0&item=1984.328a-d (321 words)

	Mitchell-Innes & Nash: Anthony Caro: Painted Sculpture
		In celebration of Sir Anthony Caros upcoming career retrospective at Tate Britain in January, Mitchell-Innes & Nash is pleased to present Anthony Caro: Painted Sculpture from January 6 through February 26, 2005, their second solo exhibition for the artist.
		Commemorating the period when Caro first came to international recognition, his large-scale abstract works from the 1960s and 70s were revolutionary as the first freestanding sculptures to be set directly on the ground and for using found objects such as ploughshares and I-beams which the artist then painted uniformly.
		Caro retrospective at the Tate Modern in London, on view from January 26 through April 17, 2005.
	www.artnet.com /event/71522/Anthony_Caro_Painted_Sculpture.html (198 words)

	Welcome to the Art Gallery of York University
		Anthony Caro, one of Britain's foremost sculptors, accepted an invitation from York University during the 1973/74 academic year to work as an artist-in-residence.
		Caro's process of welding large sheets of raw steel and prefabricated fragments allows the nature of the materials and techniques to guide the elements of composition.
		Ignoring the tradition f the "pedestal," Caro uses the ground as his base in order to involve the spectator more intimately in the sculptor's space.
	www.yorku.ca /agyu/exhibitions/sculpture_caro.html (176 words)

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