Book Description
Anthony Caro is internationally recognised as one of the greatest modernist sculptors. His radical approach heralded a revolution in sculpture. Through his work and teaching he freed sculpture from 'the monolith'. This landmark publication is the first to present a comprehensive overview of the artist's achievements to date, as seen through a wealth of fascinating archival and contemporary sources. It exclusively brings together selections from his previously unpublished correspondence with critics, including Clement Greenberg and Michael Fried, and his fellow artists. The story of Caro's quest for a new language for sculpture is told through these extracts from letters and interviews. Contemporary critical reaction to Caro's sculpture is also traced through selected press cuttings from his principal exhibitions and other major events of his career. 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are detailed both through an engaging chronological examination of his entire development and through previously unpublished documentary images of the exhibitions, places and personalities that influenced his work.

About the Author
Ian Barker was educated at Leeds College of Art and Durham University. He first met Anthony Caro in 1965 and has subsequently become an acknowledged expert on the artist. 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. He then became Director of Contemporary Art at Annely Juda Fine Art from 1985 to 2002. During this time he organised several international touring exhibitions of Caro's work including the retrospectives at the Trajan Markets in Rome; Museum of Contemporary Art, Tokyo; La Pedera, Barcelona and Caro's Last Judgement at the Venice Biennale in 1999. In 2002 he formed the International Museums Agency and has mounted international exhibitions of sculptors including Philip King, Henry Moore and David Nash.

FROM THE PUBLISHER