Anthony Caro in the gardens of the Van Buuren Museum, Brussels

Musée et Jardins van Buuren, 41 Av. Léo Errera, 1180 Bruxelles
10 May – 8 October 2017


Larry's Land (1970)

The van Buuren Museum, in collaboration with Barford Sculptures and the Daniel Templon Gallery, has decided to exhibit the work of a major name, not only in English sculpture, but also on the international stage: Anthony Caro (1924-2013).

The artist’s sculptures will grace this stunning setting during the spring and summer of 2017. Even though modern and contemporary sculpture follows in the footsteps of the previous centuries, there is one significant difference: it has become autonomous and no longer fulfils a specific function. Modern-day artists express themselves in all freedom. Anthony Caro, much acclaimed for his innovative approach of removing the sculpture from its plinth and encouraging direct interaction between viewers and the work, exemplifies this trend magnificently. He saw sculpture as a form of art that opens up onto space. Visitors will have an opportunity to lose the world in the paths of the park’s Labyrinth, to peacefully meditate in the Jardin du Cœur, both designed by René Pechère, and to explore the marvellously picturesque garden or stroll through the recently restored rose gardens Jules Buyssens originally created.

Lastly, make sure to call into the David and Alice van Buuren House Museum: a unique collection of Art Deco furniture, signed tapestries, sculptures and paintings by Belgian and international masters from the 15th to the 20th century, all left in situ in the intimate setting of a private dwelling.  



Anthony Caro: Sea Music

Poole Museum, 4 High St, Poole, Dorset, BH15 1BW


Sea Music (1991)

Sea Music by Anthony Caro is the only site specific, public sculpture in the UK by one of Britain's greatest sculptors. It was commissioned at the invitation of then Borough architect Tom Roberts, and given by Caro to the people of Poole; Sea Music was made by Dorset businesses donating time, materials and expertise and involved no public money at all.

Sea Music, situated on Poole Quay, is now twenty-five years old; it was unveiled by Lord Palumbo (former Chairman of the Arts Council) on 22 November 1991. Exposure to the seaside environment meant that the sculpture was in urgent need of repair. This vital conservation work has now been completed, with the sculpture unveiled on Saturday 13 May 2017. The conserved sculpture was once again opened by Lord Palumbo, along with a 'Fanfare for Caro' written by composer Jim Aitchison. This was followed by the world premiere of Jim Aitchison's 'Sea of Music' at The Guildhall, performed by the new music ensemble of the Bournemouth Symphony Orchestra, Kokoro, an event which was live streamed.

This project sought not only to preserve Sea Music for future generations of residents in Poole, as well as the many thousands of tourists who visit and enjoy it, but will also guarantee its reputation as a major example of public sculpture of global significance by one of the most highly regarded sculptors of his generation. The project received a grant from the Heritage Lottery Fund (HLF). The HLF admired particularly the aims of the community engagement programme, which has already begun with local schools, and the fact that the restoration of Sea Music is part of the overall regeneration of Poole.  



'Concerto Series' sculptures by Anthony Caro and 'One Hundred Views of Sea Music' photographs by David Ward

Poole Museum, 4 High St, Poole, Dorset, BH15 1BW
13 May - 15 October 2017


Caro's Slow March sculpture will sit outside on Poole Museum's terrace for the duration of the exhibition and a book dedicated to Sea Music has been published by Ridinghouse.

A series of talks and events will continue to take place throughout the exhibitions, which will continue until January 2018.  



Anthony Caro at Skulpturenhalle, Thomas Schütte Foundation

Thomas Schütte Foundation, Berger Weg 16, 41472 Neuss/Holzheim, Tel: +49 (0) 2182 – 829 85 20
10 September – 17 December 2017


Emma This (1977)

Creating abstract sculpture was the task that Anthony Caro set himself when he encountered American abstract painting in the late 1950s. He wanted to make a sculpture that would be “as important in a room as a person.” For his first works, Caro used standard construction industry steel beams. Instead of setting them upright, he placed them on the floor, side by side and stacked on top of one other – firmly in the real world. The parts are not joined, yet they appear connected, and each one, no matter what its size, has equal significance within the overall sculpture. Painted in bright colours, these sculptures expand into the surrounding space. Instead of evoking a figure, they create an open situation that draws the viewer in.

Over the years, Caro’s work became increasingly pictorial. One early sign of this is his use of wire mesh to bind the depth of staggered elements. Instead of using pre-existing materials, he now began to work with individual forms, and increasingly placed the sculpture within a confined area, making it into a stage on which a scene plays out. Caro would often choose machine elements suggesting unknown functions, translating them into images. In addition to the colours, the effect of the metal itself – Corten steel, brass – in combination with plexiglass, that brings light into the structure.

Among Caro’s innovations are his Table Sculptures. Although they stand on plinths, individual elements project into the space of the viewer. Caro did not make preliminary designs or studies, but worked improvisationally on the sculpture itself. And yet there are models of his sculptures, shown in this exhibition. These models served as an inventory of what he had already made, and so, being created after the fact, their degree of perfection is extraordinary.

Dieter Schwarz



Anthony Caro at Galerie Hans Mayer

Galerie Hans Mayer, Grabbeplatz 2, 40213 Düsseldorf, Germany, Tel: +49 (0)211 132 135
8 September – 14 October 2017


Barcelona Tower (Small Version) (2007/2010)

Sir Anthony Caro is often regarded as the greatest British sculptor of his generation. His entire career is characterized by his innovative use of materials employing stainless steel, perspex, wood and stoneware. The Gallery Hans Mayer presents twelve of Anthony Caro‘s sculptures including some pieces Caro worked on shortly before his death at the age of 89 in 2013.

Some of these works incorporate perspex, an innovative, glass-like material. Caro turned to this material as less fragile and easier to work with than glass. It also gave him the opportunity to experiment with color, as in Highway 2013, in which he combined steel with a tropical yellow perspex. Other works incorporated stoneware and steel, as Engulfed 2013 or Shunter‘s Book 2011/2013. They belong to the series of Book Sculptures. He had largely avoided the use of this traditional sculptural medium throughout his career favouring metal in his search into abstraction from the early 1960‘s onward. In 1990, however, he was introduced the German ceramist Hans-Ulrich Spinner and started some stoneware book sculptures. In 2011 Caro rediscovered the material and began experimenting with different combinations of steel appendages, incorporating workshop tools or everyday objects in the folds and creases of clay.

Anthony Caro‘s concern was very much concentrated on the interaction of a sculpture with the human body, and hand-held everyday tools feature largely throughout his career as a means to highlight the interplay with the human body, be it bolts, handles or a door prop. In a BBC interview he stated: ‘I swore I would never make an abstract sculpture, but what I meant was that I didn‘t want to make an empty sculpture. It shouldn‘t be an exercise, it should be about life.’ The books were vehicles to continue a life-long exploration into sculptural form. The world, he once said, is full of objects that look like sculptures, but are not. Whereas objects in daily life are meant to be used, to him artworks are ‘feeling objects’.



Anthony Caro: Early Sculptures and Drawings

Annely Juda Fine Art at Frieze Masters, Booth D4 Regent’s Park, London
5 – 8 October 2017


Steph (1966)

Annely Juda Fine Art is delighted to present early sculptures and drawings by Anthony Caro at Frieze Masters 2017. The booth will feature painted floor and table sculptures from 1960 to 1972. Interspersed between these iconic sculptures will be early works on paper. These drawings from the 1950’s are abstracted animals and figures in which Caro experiments with a style that shows the influence of Picasso. These drawings give a fascinating insight into Caro’s transition from the figurative work of the 1950’s to the ground-breaking abstract sculptures of the 1960’s.

Complimenting these early works on the booth, we are delighted to present the 2009 sculpture, Erl King, as part of Frieze Sculpture 2017.

Anthony Caro Anthony Caro was born in Surrey in 1924 and educated at Charterhouse School and Christ's College Cambridge where he graduated with a degree in engineering. After studying sculpture at the Royal Academy Schools in London from 1947–52, he worked as an assistant to Henry Moore in the 1950’s. He came to public attention with a show at the Whitechapel Gallery in 1963, where he exhibited large abstract sculptures brightly painted and standing directly on the ground so that they engage the spectator on a one-to-one basis. This was a radical departure from the way sculpture had hitherto been seen and paved the way for future developments in three-dimensional art. His teaching at St Martin’s School of Art in London from 1953 to 1981 was very influential. He questioned assumptions about form, material and subject matter in sculpture, and his work inspired a whole younger generation of British sculptors including Phillip King, Tony Cragg, Barry Flanagan, Richard Long and Gilbert & George. His teaching led to a flowering and a new confidence in sculpture worldwide. Anthony Caro died in London in October 2013.

Annely Juda Fine Art Annely Juda Fine Art is based in London and represents contemporary British, European and International artists. The gallery also exhibits masters of the 20th-century avant-garde, specialising in Russian Constructivism, Bauhaus and De Stijl. Annely Juda Fine Art has represented Anthony Caro since the late 1980’s.

Frieze Frieze comprises three magazines — frieze, Frieze Masters Magazine and Frieze Week — and three international art fairs — Frieze London, Frieze Masters and Frieze New York. Additionally, Frieze organizes a programme of special courses and lectures in London through Frieze Academy. Opening 5–8 October 2017, Frieze London and Frieze Masters take place in The Regent’s Park, London.

For images and further information please contact, +44 (0) 207 629 7578

Follow Annely Juda Fine Art on Twitter (@Annely_Juda), Facebook (, Instagram (@annelyjuda)