Page 54 - Studio International - April 1974

New work
Anthony Caro
In November 1972 Anthony Caro
found in an Italian scrapyard
unpressed ends of steel in bulk.
These he had taken to a factory in
Veduggio where a studio space was
taking shape. Many sculptures were
made using this material, a number of
which went to make up the recent
show at Andre Emmerich's, New
York. On his return to England Caro
could not find the same material, and
instead made small works in which
the steel was characterized by a
cutting and bending technique.
Eventually a source was found near
Durham and this material was used to
construct further table pieces and,
most recently, several large works.
These differ from the Veduggio
sculptures in their formal
construction. Although similar
material is used in both, the English
sculptures combine a truncated and
triangular system featured in some
recently made American works ; they
use straight angle and channel-
sectioned steel in relatively simple
structures, and rise vertically to
support a horizontal bar, a capping
device used again in the large English
works.
Another difference in the English
as opposed to the Italian works, is in
the use of double rhythms found Veduggio Flat 1973 each time we look. Because our
Steel,92 X 117 X 32 in.
mainly in the former. Many of the awareness tells us that process and
Veduggio sculptures have the edges These assemblages often appear time are joined we deduce that
of separate pieces joined together. as though they had once been flat. becoming can only happen after
The eye can travel linearly around the They have passed through a number activity in time and further we
parts to connect them together to of incidents to arrive at their present perceive our own process, finishing
form a whole. However, a shape. They contain, yet explain in and starting again through looking.
connection with earlier works is that one brief moment the journey that The same sculpture will always appear
each element (or piece of material) forms their history. Shown facially are to be at the moment of 'becoming'
within the total composition is the details of incidents that certain each time we look at it.
allowed to maintain its separate moments of time had in moulding The sculpture contradicts the
character while at the same time their outline. What they do not tell us, assumption, made through our
contributing to the total. By that I however, is the amount of time that cognition of process in time, that
mean that it asserts its particularness. this took—either in the over-all sense something develops equally in all
This might be by the speed with or from moment to moment. It is here parts and progresses with time. In
which it passes its neighbour, for that the immortality of the work all the recent works some parts are
example, or by the different ways it becomes crucial to our experience of becoming what others were
can occupy space. The English works it, and this gives to the work an previously, or else they seem to
have their members closer together, imminent presence that a living anticipate what others might become
Durham Steel Flat 1973-4
creating a sonorous effect. organism, for example can never Varnished steel, 11½ x 98½ x 70½ in. at a later date. It is in selecting the
A new freedom has been found in have. (Except in the casting of right moment in this state of flux that
composing ; by breaking down the character). The process of becoming is the artist establishes his authority in
distinctive mark of each particular It is when we come to analyse the formed from the free flow of material the final work. The artist's sensibility
member's character in each process used that difficulties occur. in its viscous state and the ordering of is the working tool used to discern
sculpture the artist has widened the We can see the effect but the cause is flow by the artist. The best sculptures the right choices in this selection, and
compositional possibilities. Each hidden. Their evolution escapes are those which show that the in that he shows a mastery.
part can now connect with its analysis except in the obvious sense moment to conclude all movement Time is shared with the work. It is
neighbour to form a larger whole. It that one sculpture was made later was right. Conviction is shown in the immediate and grants communion.
can do this without fear of redundancy than another. Several ambiguities of belief that rightness can only come at This is in direct opposition to the
through over-statement. idea can be discerned. They trigger certain moments and can be alienation felt with the material. We
A perspective can also be made in our expectations for further meaning. recognized. It occurs only under know metal as cold and unyielding,
placing the table-pieces of 1973. In Presented with these 1973 table certain conditions and cannot be yet a change has happened in these
these works problems arising from pieces we can infer that the fluidity, repeated. works through process. It is difficult to
identity were tackled significantly. A or relative fluidity, of each sculpture We therefore witness a moment in recognize as steel.
show of these works was held at is partly due to the way each time without being able to position Three of the most recent sculptures
Andre Emmerich's gallery in May and component moulds itself to its that moment in an over-all schema. are extremely beautiful and pre-
June of 1973. These illustrated in neighbour, using edge to edge or end except in relation to ourselves. We eminently successful. They operate as
part the idea that matter can flow. It to end techniques. Pieces are welded become aware of personal time major anchoring points around which
stops and starts and needs controlling, together with lugs of metal. The steel through this experience. This the smaller sculptures are berthed,
which suggests intervention during is bent in parts, as in CX/X, 1973, or revelation gives immediacy to the and allow a sensible appreciation to
the course of its movement. This contours are jaggedly interconnected event and the idea that the object- be made of the table pieces, giving to
takes the artist's role as decision- across and through the work as in sculpture and ourselves are one and them a position in the total picture.
maker to a new peak of intensity. CXXX VII 1973. However the the same. Existence within the same They are Durham Steel Flat:
The artist has always accepted sculptures are de-activated, becoming time span allows 'real' space to be Durham Purse, and Tim's Trail.
responsibility for this. physically immobile. distorted. The sculpture 'becomes' The three sculptures have basically