Anthony Caro (born 1924) is widely regarded as 'Britain's greatest
living sculptor' (The Guardian, 2003) and has enjoyed an international
reputation since the early 1960s. This publication accompanies a major
retrospective exhibition of Caro's work at Tate Britain in January 2005.
Caro studied at Regent Street Polytechnic and the Royal Academy Schools,
before working as Henry Moore's assistant between 1951 and 1953. His
work changed radically following a visit to America in 1959, when he met
the sculptor David Smith, the painter Kenneth Noland and the critic
Clement Greenberg. In 1960 he began making purely abstract sculptures
constructed and welded in steel, comprising beams, girders and other
found elements painted in bright colours. 'I think my big break in 1960
was in challenging the pedestal, killing statuary, bringing sculpture
into our lived-in space', Caro wrote. The exhibition of these works at
the Whitechapel Gallery in 1963, caused a sensation and heralded a
revolution in sculpture. Within a short period, conventional ideas about
materials, method, surface, scale, form and space were overturned by his
radical reworking of all these elements. This recognition was parallel