{"id":8158,"date":"2015-08-19T05:12:02","date_gmt":"2015-08-19T08:12:02","guid":{"rendered":"http:\/\/culturedarm.com\/?p=8158"},"modified":"2016-01-12T02:48:14","modified_gmt":"2016-01-12T05:48:14","slug":"caro-in-yorkshire-and-henry-moore-back-to-a-land-at-ysp","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/caro-in-yorkshire-and-henry-moore-back-to-a-land-at-ysp\/","title":{"rendered":"Caro in Yorkshire and Henry Moore: Back to a Land at YSP"},"content":{"rendered":"

\"Caro<\/a><\/p>\n

Major exhibits currently showing\u00a0at Yorkshire Sculpture Park are providing\u00a0new perspectives on the work of two of Britain\u2019s eminent twentieth-century sculptors. Caro in Yorkshire<\/a><\/em>, a two-site exhibition spread\u00a0between Yorkshire Sculpture Park and Hepworth Wakefield, looks back over sixty years of Anthony Caro\u2019s career, viewing his creative process\u00a0\u2013 from his early small bronze figures to the revolutionary painted steel and aluminium constructs of the 1960s, which removed sculpture from its traditional plinth and placed Caro\u2019s name at\u00a0the forefront of modern art \u2013 within the contexts of painting and architecture. An\u00a0initiative of Yorkshire Sculpture Triangle, more than 100 of Caro\u2019s works are being displayed indoors and outdoors across the two sites.<\/p>\n

Meanwhile Henry Moore: Back to a Land<\/em> explores the ceaseless interaction between Henry Moore\u2019s art and the earth, developing his interest in specific locales, as well as geological features. Moore spoke of the\u00a0\u2018element of the unknown that fascinates\u00a0me in caves and the holes in the sides of hills \u2013 you don\u2019t know\u00a0what is there until you look and explore into them\u2019. Alongside sculptures both inside and out, Yorkshire Sculpture Park\u2019s Underground Gallery has been reconfigured to display\u00a0a broad selection\u00a0of Moore\u2019s drawings and sketches. In total 120 pieces are on show, in collaboration with the Henry Moore Foundation.<\/p>\n

After opening last month, Caro in Yorkshire<\/em> will continue at\u00a0Yorkshire Sculpture Park and Hepworth Wakefield until 1 November. Meanwhile\u00a0Henry Moore: Back to a Land<\/em> has just a few weeks left to run, closing after six months on 6 September.<\/p>\n

* * *<\/p>\n

The story of Anthony Caro\u2019s career is usually portrayed\u00a0with a radical break: the promising early figurative works of the 1950s, typically in bronze, cast aside and his art revolutionised upon his first visit to the United States in 1959. There Caro embraced the expressionist sculpture of David Smith and the criticism of Clement Greenberg, while also developing\u00a0fruitful friendships with the abstract painters Kenneth Noland, Jules Olitski, and Helen Frankenthaler.<\/p>\n

Eschewing figuration, Twenty Four Hours<\/em> (1960) was Caro\u2019s first abstract sculpture, and the first which he welded from pieces of steel. Part of the Tate collection, the work is currently on loan at Hepworth Wakefield. Sculpture Seven<\/em> (1961) \u2013 along with Midday<\/em> (1960), which is in the collection\u00a0of MoMA, and was last exhibited as part of the Metropolitan Museum of Art\u2019s Anthony Caro on the Roof\u00a0<\/em>back in 2011\u00a0 \u2013 was one of Caro\u2019s first polychrome sculptures, its welded steel painted in store-bought, unmixed green paint.<\/p>\n

\"\"<\/a>
Sculpture Seven (1961) by Anthony Caro, Steel painted green, blue & brown , 178 x 537 x 105.5 cm<\/figcaption><\/figure>\n

Caro\u2019s wife, the modernist painter Sheila Girling, was both a constant companion and another crucial influence upon his work. Early One Morning<\/em> (1962) incorporated aluminium alongside steel, and was one of Caro\u2019s largest sculptures to date, extending over 6 metres. Its vivid red was an improvement suggested by Sheila, as Caro recalled:<\/p>\n

\u2018I remember finishing Early One Morning, which had become so long I\u2019d ended up with the garage doors permanently open. I\u2019d painted it green and we\u2019d put it out on the lawn to get a better look. I woke up next morning and opened the curtains and there it was. But the colour was wrong. Sheila said \u201cthat\u2019s definitely a red sculpture\u201d. She was spot on and that\u2019s what it became.\u2019<\/em><\/p>\n

A year later, Month of May<\/em> (1963) arrived\u00a0as part of the same innovative burst, its twisted bars and foundational blocks of steel and aluminium painted in magenta, orange, and green. Together these sculptures of the early 1960s\u00a0established Caro\u2019s reputation, leading\u00a0to a teaching position at\u00a0Bennington College, Vermont, and solo exhibitions at the\u00a0Whitechapel Art Gallery in London and the\u00a0Andr\u00e9 Emmerich Gallery in New York. Caro\u2019s radically modern, free-standing, painted steel works were subsequently showcased at documenta III in Kassel, at the Tate, and at\u00a0Washington Gallery of Modern Art. His first retrospective came as early as 1967, at the\u00a0Kr\u00f6ller-M\u00fcller Museum in Otterlo. It was followed by another in 1969 at the Hayward Gallery, and his first major retrospective was held by MoMA in 1975.<\/p>\n

Caro in Yorkshire<\/em> begins inside Yorkshire Sculpture Park\u2019s visitor\u2019s centre, where there is an alcove display of scale models from the duration of Caro\u2019s career. Across the park, the first room of the Longside Gallery shows some of\u00a0Caro\u2019s earliest figurative works in paper and bronze. These include small bronze figures depicting female heads, squatting warriors, and twisted bulls; and life drawings, mostly female nudes, with annotations by Henry Moore, who Caro served as an assistant between\u00a01951-1953.<\/p>\n

\"Double<\/a>
Double Flats (1974) by Anthony Caro, Steel rusted and waxed<\/figcaption><\/figure>\n

The main space of the Longside Gallery opens out impressively with\u00a0Month of May<\/em>, and works round onto\u00a0Paris Green<\/em> (1966) and Sculpture Seven<\/em>. The buckled steel of Xanadu<\/em> (1986-88) draws from both classical Greek architecture and the painting\u00a0Bathers by a River<\/em> (1917) by Henri Matisse. Sackbut<\/em> (2011-12) was similarly inspired by C\u00e9zanne\u2019s The Card Players<\/em> (1894-95), and marked one of Caro\u2019s earliest uses of Perspex. This was part\u00a0of the\u00a0Last Sculptures<\/em>, Caro\u2019s final series of works, which saw him return to the sort of bold colour which is well\u00a0represented here by Blue Moon<\/em> (2013).<\/p>\n

The Longside Gallery also features one of Caro\u2019s Ducco Variations<\/em> (1999-2000), a series in diverse materials based on The Annunciation<\/em> (1307-11) by the Italian artist Duccio. And finally in the centre of the room are Caro\u2019s paper sculptures, models and three-dimensional frames which he elaborated with the printmaker Ken Tyler in 1981 in New York, and on a visit to Obama, Japan, in 1990.<\/p>\n

Outside, in the YSP\u2019s parks and gardens,\u00a0Promenade<\/em> (1996) \u2013 which has stood in the lower park since 1998, becoming one of the YSP\u2019s emblematic and most climbed upon sculptures \u2013 and Dream City<\/em> (1992-94) have been joined by the rusted and waxed steel of Forum<\/em> (1992-94). And towards Camellia House stand a strategic selection from the rusted and varnished steel Flats<\/em>, a series\u00a0comprising thirty-seven pieces in all which Caro completed in Canada in the middle of the 1970s.<\/p>\n

Throughout,\u00a0Caro in Yorkshire<\/em> at Yorkshire Sculpture Park demonstrates the artist\u2019s interest in volume and space above texture and shape. At the beginning of the\u00a01960s, working in a confined environment \u2013 typically out of his garage \u2013 Caro focused on interrelating forms, rather than the\u00a0appearance his sculptures would take when viewed from a conventional distance. Subsequently pieces like Month of May<\/em> are best experienced up close,\u00a0and from all angles. It is these daring works from the 1960s which continue to seem the most vital and the most fun, angling and pointing sharply and brightly into the air, and occasionally\u00a0slithering unconstrained\u00a0along the floor of the gallery.<\/p>\n

\"Blue<\/a>
Blue Moon (2013) by Anthony Caro, Perspex and steel<\/figcaption><\/figure>\n

Outside the Flats<\/em> series experiment in a different direction: those loosely gathered\u00a0at the YSP are self-effacing, and slender in bulk, with rounded edges, their blank fronts appearing as pages deliberately left unwritten. The rusted steel in orange, russet, and brown is at its best offset by all the green foliage. Yet the lack of surface interest and a certain formal rigidity render these and the other works\u00a0in the lower park little more than background pieces, witnessed casually from a middle-ground. Along with some of the unpainted sculptures\u00a0inside, they can be hard to grasp without a knowledge of the art \u2013 the Matisses, Cezannes, and Courbets \u2013 by which they were inspired.<\/p>\n

The opportunity to view the full scope of Caro\u2019s career offers suggestive parallels, and indicates that the supposed break of 1959 was not wholly decisive. Bronze figures such as Warrior I<\/em>\u00a0(1951-53) and Fighting Bull<\/em> (1954) still show the influences of Moore and Picasso, but they already tend towards abstraction, their densely crouching forms resembling later works like Xanadu<\/em> and Forum<\/em> \u2013 which themselves imply something of a rapprochement with figuration. Meanwhile the Last Sculptures<\/em> seem a final flourish, their angular colours and the clever use of Perspex to imply\u00a0windows and mirrors \u2013 alternately framing and proving a sense of movement within fixed parts \u2013 recalling Caro\u2019s early 1960s and its playful vigour.<\/p>\n

Caro in Yorkshire<\/em> is the first major retrospective since the artist\u2019s death in October 2013. Sheila Girling was involved in putting together the exhibition commemorating her husband\u2019s life, until her own death in February of this year.<\/p>\n

* * *<\/p>\n

The title of Henry Moore: Back to a Land<\/em> is taken from A Land<\/em> by the archaeologist Jacquetta Hawkes, originally published in 1951 as an evocative history digressing upon\u00a0the geological and cultural formation of the British landscape. The book mentioned Moore, Hawkes writing that\u00a0\u2018Rodin pursued the idea of conscious, spiritual man emerging from the rock [\u2026] Moore sees him rather as always a part of it\u2019. And in 1954,\u00a0having read the work, Moore provided the drawings for an illustrated\u00a0edition.<\/p>\n

These\u00a0illustrations are part of Henry Moore: Back to a Land<\/em>. Also on display are the studies of Stonehenge which he made\u00a0over a visit in 1973, his sketches of miners, and the drawings of the London Underground completed amidst World War II. Such series are shown alongside assorted other drawings, including\u00a0Northern Landscape: Iceberg<\/em> (1980) and\u00a0Clouds in Sky<\/em> (1982).<\/p>\n

While several\u00a0of Moore\u2019s drawings impress with their graceful line, some enhanced by loose washes; and a couple of the Stonehenge pieces demonstrate masterful technique, depicting the full interplay of shadows and light across\u00a0curved surfaces; still others seem a little outdated,\u00a0even Gothic in their darkly elaborate etchings. Where the drawings really excel is in turning attention back upon the sculptures. They\u00a0reveal the extent and the often surprising manner of Moore\u2019s associations between hills, rocks, and caves, and the human body.<\/p>\n

\"Large<\/a>
Large Reclining Figure (1984) by Henry Moore, Fibreglass<\/figcaption><\/figure>\n

Henry Moore: Back to a Land<\/em> is full of reclining figures, in travertine marble, bronze, wood, and plaster. With skeletal interiors entwined in the plump traces of flesh, and abstracted body parts \u2013 heads, bones, and muscles \u2013 marked and crossed with lines, the sculptures all bear a surface interest, and show Moore\u2019s acute sensitivity for diverse materials.\u00a0Outside in Yorkshire Sculpture Park\u2019s gardens, the exhibition brings together Large Two Forms<\/em> (1966-69), Two Piece Reclining Figure: Points<\/em> (1969), Reclining Figure: Angles<\/em> (1979), and Large Reclining Figure<\/em> (1984).<\/p>\n

Mary Moore \u2013 who has noted that until the end of his life, her father continued to draw inspired by his native Yorkshire landscape \u2013 has also brought together for the exhibition a collection of Henry\u2019s ethnographic objects, from the Maya, Columbia, Africa, and Egypt. These are displayed with Moore\u2019s maquettes, notes, and tools, photographs, and a video portraying\u00a0the artist at work.<\/p>\n","protected":false},"excerpt":{"rendered":"

Major exhibits currently showing\u00a0at Yorkshire Sculpture Park are providing\u00a0new perspectives on the work of two of Britain\u2019s eminent twentieth-century sculptors. Caro in Yorkshire, a two-site exhibition spread\u00a0between Yorkshire Sculpture Park and Hepworth Wakefield, looks back over sixty years of Anthony Caro\u2019s career, viewing his creative process\u00a0\u2013 from his early small bronze figures to the revolutionary […]<\/p>\n","protected":false},"author":1,"featured_media":8162,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3874],"tags":[3951,3952,3996,2838,3953],"class_list":{"0":"post-8158","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"tag-anthony-caro","9":"tag-british-art","10":"tag-henry-moore","11":"tag-sculpture","12":"tag-yorkshire-sculpture-park"},"jetpack_publicize_connections":[],"yoast_head":"\nCaro 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