Anthony Caro (born 1924) has played a pivotal role in the development of twentieth century sculpture. After studying sculpture at the Royal Academy Schools in London, he worked as assistant to Henry Moore. 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. 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.

Caro’s teaching at St Martin’s School of Art in London (1953-1981) was very influential. His questioning approach opened up new possibilities, both formally and with regard to subject matter. His innovative work as well as his teaching led to a flowering and a new confidence in sculpture worldwide.

Caro often works in steel, but also in a diverse range of other materials, including bronze, silver, lead, stoneware, wood and paper. Major exhibitions include retrospectives at the Museum of Modern Art, New York (1975), the Trajan Markets, Rome (1992) and the Museum of Contemporary Art, Tokyo (1995), Sculpture into Architecture at the Tate Gallery, London (1991), Sculpture from Painting at the National Gallery, London (1998) and The Last Judgement at the Venice Biennale (1999). He has been awarded many prizes, including the Praemium Imperiale for Sculpture in Tokyo in 1992 and the Lifetime Achievement Award for Sculpture in 1997. He holds many honorary degrees from universities in the UK, USA and Europe. He was knighted in 1987 and received the Order of Merit in May 2000.

1924 Born 8 March, New Malden, Surrey, son of Alfred and Mary Caro, both families from Norwich, father a stockbroker

1937 - 42 Attends Charterhouse School, Godalming, Surrey

1942 - 44 Studies engineering at Christ’s College, Cambridge
During vacations attends Farnham School of Art and works in studio of sculptor Charles Wheeler RA

1944 - 46 Serves in Fleet Air Arm of Royal Navy

1946 - 47 Attends Regent Street Polytechnic, studies sculpture with Geoffrey Deeley

1947 - 52 Receives strict academic training at Royal Academy Schools, London, taught by different sculptor Royal Academicians (MacWilliam, Hardiman, Charoux and Maurice Lambert)
Studies and copies Greek, Etruscan, Romanesque and Gothic sculpture

1948 Awarded two silver medals (clay figure modelling, carving) and one bronze medal (composition) from Royal Academy Schools

1949 Marries the painter Sheila Girling (two sons Timothy 1951, Paul 1958)

1951 - 53 Moves to Much Hadham, Hertfordshire with wife and family to work as part-time assistant to Henry Moore.
Continues to draw from the model at Royal Academy Schools

1953 - 81 Teaches two days weekly at St Martin's School of Art, London; students include David Annesley, Michael Bolus, Richard Deacon, David Evison, Barry Flanagan, Hamish Fulton, Gilbert & George, Brower Hatcher, Peter Hide, Phillip King, Richard Long, Tim Scott, William Tucker and Isaac Witkin
Joins Frank Martin, Head of Sculpture Department, in reorganising the department and developing the curriculum
Integrates sculpture and drawing into a single class with a view to understanding rather than copying the subject.

1954 Family moves to Hampstead
Makes figurative sculpture in clay and plaster, sometimes cast in bronze, such as Man Holding His Foot (1954)
During summer vacations at Porlock, Somerset, makes moulds of rocks and cliff outcroppings, which are incorporated along with pebbles and stones into figurative sculptures

1955 Two figurative sculptures included in group exhibition ‘New Painters and Painter-Sculptors’, Institute of Contemporary Art, London

1956 First one-man exhibition at Galleria del Naviglio, Milan; twenty sculptures shown, expressionist figures and heads modelled in clay or plaster, including Woman Waking Up (1955)

1957 First one-man exhibition in London: Gimpel Fils Gallery

1958 Man Taking Off His Shirt (1955/56) exhibited at the Venice Biennale

1959 First Paris Biennale for young artists; sculptures exhibited include Woman with Flowers (1958) and Woman On Her Back (1951). Awarded prize for sculpture, which enables him to visit Carnac, Brittany where he studies the primitive menhirs and dolmens
Tate Gallery purchases Woman Waking Up (1955)
Meets Clement Greenberg in London; subsequent conversations and studio visits over many years are a great influence on his approach and his attitude to art
Visits USA for the first time on Ford Foundation English Speaking Union grant; meets sculptor David Smith and painter Kenneth Noland, as well as Robert Motherwell, Helen Frankenthaler, Richard Diebenkorn, Ed Keinholz and other New York and West Coast painters

1960 In London makes first abstract sculptures in steel, starting with Twenty Four Hours (1961), now in the Tate Gallery collection
Radical change in his ideas forces him to rethink his teaching methods. Frank Martin sets up a welding shop at St Martin's; experimental atmosphere in school and working relationship with students provide forum for stimulating exchanges
1961 Makes first polychrome sculpture, Sculpture Seven (1961)
Exhibits the only sculpture, The Horse (1961), in ‘New London Situation’, an exhibition of ‘situation paintings’ selected by Lawrence Alloway and held at Marlborough New London Gallery

1963 Large one-man exhibition of fifteen abstract steel sculptures at Whitechapel Art Gallery, London, organised by its director, Bryan Robertson. Sculptures exhibited include Twenty Four Hours (1961), Midday (1960), Sculpture Seven (1961), Early One Morning (1962), Month of May (1963) and Pompadour (1963)
Included in group show at Kasmin Limited, London. Kasmin continues to show Caro’s work regularly: solo exhibitions 1965, 1967, 1971, 1972 and (under the name of Knoedler Gallery) 1978, 1982, 1983, 1984, 1986, 1989, 1991

1963 - 65 Teaches at Bennington College, Bennington, Vermont: other members of faculty include painters Jules Olitski, Paul Feeley and Peter Stroud
Renews contact with Noland and Smith who live nearby
Noland suggests Caro works in series, which he has done many times since
Large garage belonging to the Bennington College Fire Department made available for Caro's use as a temporary studio and he produces a number of works, including Titan (1964) and Bennington (1964)

1964 First one-man exhibition in New York at André Emmerich Gallery; five sculptures shown include Prospect (1964). Emmerich continues to exhibit Caro’s work regularly: solo exhibitions in New York 1968, 1970, 1972, 1973, 1974, 1977, 1978, 1979, 1982 (twice), 1984, 1986, 1988, 1989, 1991, 1994 and at Galerie André Emmerich, Zürich, in 1974,1978, 1985
Exhibits Month of May (1963) and Hopscotch (1962) at Documenta III, Kassel, Germany

1965 Exhibits Early One Morning (1962) in group show entitled 'British Sculpture in the Sixties' at the Tate Gallery, London, organised by the Contemporary Art Society; CAS presents Early One Morning to the Tate Gallery collection
Exhibition at Washington Gallery of Modern Art, Washington DC, includes Twenty Four Hours (1960), Sculpture Seven (1961) and Prospect (1964)
For the next two decades visits USA 3-4 times a year, usually working there for about a month each time

1966 Exhibits at Venice Biennale in the British Pavilion with painters Richard Smith, Harold Cohen, Bernard Cohen and Robyn Denny in exhibition entitled 'Five Young British Artists'
Exhibits in 'Primary Structures: Younger American and British Sculptors' at the Jewish Museum, New York, organised by Kynaston McShine
Following conversation with Michael Fried begins to make small sculptures, using handles and coming over the edge of the table; calls these Table Pieces
In larger works such as Red Splash (1966) and The Window (1966/67) incorporates grills and mesh screens

1967 Retrospective exhibition at Rijksmuseum Kröller-Müller, Otterlo, Holland
Acquires stock of raw materials from estate of the late David Smith
Exhibits Prairie (1967) and Deep Body Blue (1967) at Kasmin Ltd, London

1968 Development of table sculptures; incorporates steel table-height surfaces into large scale sculptures including Trefoil (1968)
Exhibits Titan (1964) in 'Noland, Louis and Caro', Metropolitan Museum of Art, New York

1969 Retrospective exhibition at Hayward Gallery, London, consisting of fifty works made 1954-1968, organised by Joanna Drew, with a catalogue essay by Michael Fried
Exhibits, with John Hoyland, in British Section of Tenth São Paulo Biennale
Moves studio to former piano factory in Camden Town, London
Patrick Cunningham becomes Caro's studio assistant in London
Purchases parts of agricultural machinery, including plough shares and propeller blades, which are used in sculptures incorporating different levels, including Orangerie (1969) and Sun Feast (1969)

1970 Works each year for short periods at Kenneth Noland’s studio at Shaftsbury, Vermont, assisted by James Wolfe and later Willard Boepple
Makes unpainted steel sculptures where the rusted steel is varnished or waxed, such as The Bull (1970)
Exhibits Pink Stack (1969) in the exhibition ‘Contemporary British Art’ at the National Museum of Modern Art, Tokyo
Exhibits Orangerie and Sun Feast at André Emmerich Gallery, New York; Sun Feast bought by Lewis Cabot, who becomes an important collector of Caro works

1971 Invited to judge Perth Prize at 1971 Drawing International at Western Australia Art Gallery, Perth
Travels around the world with his family visiting Mexico, New Zealand, Australia and India, lecturing at art schools and universities

1972 Makes series of seven rusted steel sculptures, the Straight series, based on the H-beam
Works at Ripamonte factory in Veduggio, Brianza, with James Wolfe as assistant; makes fourteen sculptures using soft edge roll end steel

1973 Obtains soft edge roll end steel from Consett, County Durham, England; makes Durham Purse and Durham Steel Flat (1973/74)
Museum of Modern Art, New York, acquires Midday (1960)

1974 Works at York Steel Company factory in Toronto; makes large sculptures using heavy steel handling equipment such as mobile cranes, assisted by sculptors James Wolfe, Willard Boepple and André Fauteux. Returning many times over the next two years completes 37 sculptures, later known as the Flats series, including Lake Ontario Flats (1974), Pin Up Flat (1974), Scorched Flats (1974) and Surprise Flats (1974)

1975 Retrospective exhibition at Museum of Modern Art, New York (which later travels to Walker Art Center, Minneapolis, Museum of Fine Art, Houston and Museum of Fine Art, Boston)
Works in ceramic clay at workshop organised by Margie Hughto at Syracuse University, New York.

1976 Presented with key to the City of New York by Mayor Abraham Beame

1977 Retrospective exhibition of table sculptures organised by The British Council tours to Israel, Australia, New Zealand and Germany
Artist in residence at Emma Lake summer workshop, University of Saskatchewan, Saskatoon, using tubular steel in a linear mode. Sculptures made there, later known as the Emma series, include Emma Dipper (1977, now in the Tate Gallery collection) and Emma Dance (1977/78)

1978 Makes first 'writing pieces': small calligraphic sculptures in steel, often including tools or other utensils
Experience of working with clay leads to the use of clay parts cast in bronze welded directly to plate bronze and brass
Executes commission for architect I M Pei’s new East Wing building of the National Gallery, Washington, DC

1980 Makes a series of bronze screens
Invited by Rodger Mack to work in bronze at Can Company factory, converted into sculpture department of Syracuse University; makes Can Co series and Water Street series
Begins series of lead and wood sculptures

1981 Makes series of sculptures in handmade paper, mostly wall reliefs, with Ken Tyler at Tyler Graphics, New York
Exhibits 12 large steel sculptures at Städtische Galerie, Frankfurt, later travelling to Saarland Museum, Saarbrücken, Germany

1982 Delivers William Townsend Memorial Lecture on sculpture at University College, London
Together with Robert Loder organises the first Triangle Workshop for thirty sculptors and painters from USA, England and Canada at Pine Plains, New York; over the years artists from many countries attend. Participates annually thereafter until 1991, when leadership is handed over to Willard Boepple, Jon Isherwood and Karen Wilkin
Paints in acrylic at Helen Frankenthaler’s studio in New York

1984 60th Birthday solo exhibition at Serpentine Gallery, London, organised by The Arts Council; later tours to Whitworth Art Gallery, University of Manchester, Leeds City Art Gallery, Ordrupgaardsamlingen, Copenhagen, Kunstmuseum, Düsseldorf and Fundacio Joan Miró, Barcelona
Completes first sculpture with an architectural dimension where the spectator is invited to enter the work and experience its inner space: Child’s Tower Room (1983/84) in Japanese oak; shown in the Arts Council touring exhibition ‘Four Rooms’, which opens at Liberty’s, London

1985 Builds a barn at Ancram, New York state, to be used as US studio
Jon Isherwood becomes Caro’s US studio assistant
Guest leader at sculptors’ workshop at Jan van Eyck Academie, Maastricht
Delivers Delia Heron Lecture, Falmouth School of Art
Visits Greece for the first time

1986 Completes Scamander (1985/86) and Rape of the Sabines (1985/86), in a series of sculptures inspired by Greek pediments

1987 Leads ‘Stahl 87’ workshop at the Werkstatt Berlin
Creates large bronze sculpture, Chicago Fugue (1986/87), for John Buck Company, South Lasalle Street, Chicago
At Triangle Workshop at Pine Plains, New York works with Frank Gehry on architectural/sculptural ‘village’
Participates in special Triangle workshop in Barcelona and starts Barcelona series, which he later returns to Spain to finish
Delivers the Contemporary Art Society’s Fourth Annual Lecture, ‘The Artist’s Method’, at Tate Gallery, London
Makes After Olympia (1986/87) in London, his largest sculpture to date

1988 After Olympia (1986/87) is installed on roof garden of Metropolitan Museum of Art, New York, for duration of the summer
Concludes investigation of pediment-inspired works with Xanadu (1986/88)
Starts series of 33 table sculptures made from steel elements brought back from the Barcelona workshop to London studio; calls these the Catalan series

1989 Exhibits selection from the Barcelona and Catalan series at the Sala de Exposiciones del Banco Bilbao Vizcaya, Barcelona
Retrospective exhibition at Walker Hill Art Center, Seoul; visits Korea and India
Attends steel sculpture workshop, University of Alberta, Edmonton, and bronze workshop at Red Deer College, Alberta
Begins working on the Cascades series of 14 table sculptures, which often involve the floor and even the wall
First solo show at Annely Juda Fine Art, London, entitled Aspects of Anthony Caro; subsequent solo exhibitions in 1991, 1994, 1998 and 2001

1990 Completes work on Night Movements (1987/90), a single work in four separate units, now in the Tate Gallery collection
Visits Japan and at Nagatani’s workshop, Obama, starts series of paper sculptures, later completed in England

1991 Completes two sculptures involving a dialogue with architecture: Sea Music (1991) for the quayside in Poole, Dorset, and Tower of Discovery (1991)
Exhibition of four recent large sculptures in the Duveen Galleries of the Tate Gallery, London: After Olympia, Tower of Discovery, Xanadu and Night Movements
Exhibits selections of the Cascades table pieces (1989/90) at Annely Juda Fine Art, London and André Emmerich Gallery, New York

1992 Retrospective exhibition in the ancient Trajan Markets, Rome, organised by Giovanni Caradente and The British Council
Tower of Discovery (1991) shown at the World Expo Fair, Seville
Obama paper works shown at Fuji Television Gallery, Tokyo
Makes Chant des montagnes (1993/94) for Musée de Grenoble, France
The British Council tours the Cascades series (1989/90) to museums in Hungary, Romania, Turkey, Cyprus, Greece, Germany, Holland, Slovenia and Slovakia
Makes a series of ceramic sculptural elements at the workshop of Hans Spinner near Grasse, France; these are later combined with wood and steel in the London studio to form The Trojan War

1994 Caro Noland Olitski workshop, symposium and exhibition at Hartford Art School, Connecticut

1994-95 Several exhibitions organised to celebrate the artist’s 70th birthday, including ‘Sculpture Through Five Decades’ at Annely Juda Fine Art, London, later shown at Galerie Hans Mayer, Düsseldorf and (in a modified version) Kukje Gallery, Seoul
One-man exhibitions at André Emmerich Gallery, New York, Richard Gray Gallery, Chicago, and Constantine Grimaldis Gallery, Baltimore
Exhibition of table sculptures organised by Kettle’s Yard Gallery, Cambridge; later tours to Manchester and Sheffield
The Trojan War (1993/94) at the Iveagh Bequest, Kenwood, London and Yorkshire Sculpture Park, Wakefield
Major sculpture installation commissioned by the Henry Moore Sculpture Trust for the Henry Moore Studio at Dean Clough, Halifax: Halifax Steps - Ziggurats and Spirals (1994) further explore the dialogue between sculpture and architecture

1995 Caro’s largest retrospective exhibition of 113 works opens the new Museum of Contemporary Art, Tokyo; curated by Yasuyoshi Saito with architectural settings specially designed by Tadao Ando

1996 Goodwood Steps (1996) displayed at the Hat Hill Sculpture Foundation, Goodwood, until 1998, then at Chicago Navy Pier, Chicago
Shown along with Chillida, Jacobsen, Luginbühl in 'Plätze und Platzzeichen' at Museum Würth, Künzelsau, Germany

1996-97 The Trojan War (1993/94) is shown in Greece at Thessaloniki and at the National Gallery, Athens
With the architect Norman Foster and the engineer Chris Wise wins the competition for a new footbridge spanning the Thames from St Paul's to Tate Modern at Bankside, London

1998 ‘Caro-Sculpture from Painting’ exhibited at the National Gallery, London; the first occasion a contemporary sculptor has been invited to hold a one-man show there Exhibition of new works at Annely Juda Fine Art, followed by exhibitions in Amsterdam, Seoul and New York
The Trojan War exhibited at the Marlborough Gallery, New York
Works in theatre for the first time, designing the sets and props for Northern Broadsides’ dramatic interpretation of Milton’s Samson Agonistes at the Viaduct Theatre, Dean Clough, Halifax (director Barrie Rutter, costumes Sheila Girling)
1999 The Last Judgement (1995/99) shown at 48th Venice Biennale; a 25-part sculpture in terracotta, wood and steel, made in response to the atrocities of the 20th century
New Marlborough Gallery in Boca Raton, Florida, shows Arena Pieces

2000 Exhibition of early coloured sculpture at Ameringer Howard Fine Art, New York
Exhibition at Venice Design Gallery, Venice of works from the Concerto series (1999/2000) inspired by music
Three of seven Duccio Variations in different materials included in 'Encounters' at the National Gallery, London; an exhibition of works by 24 contemporary artists inspired by paintings in the collection
The Last Judgement is the first show in the new wing of Museo des Bellas Artes, Bilbao

2001 All seven Duccio Variations exhibited together at Marlborough Gallery, New York, with Gold Blocks and Concerto pieces; a selection of the works toured to Marlborough Gallery, Santiago
Attends opening of new Kunsthalle Würth in Schwäbisch Hall, Germany: The Last Judgement shown in the adjacent Johanniterhalle

1947 Landseer Scholarship, First Landseer Award,
1947 Royal Academy Schools, London
1959 Sculpture Prize, First Paris Biennale
1959 Ford Foundation – English Speaking Union travel grant
1966 David E Bright Foundation Prize, Venice Biennale
1968 Honorary Doctor of Letters, University of East Anglia, England
1969 Commander of the Order of the British Empire
1969 Prizewinner, São Paulo Biennale
1976 Presented with key to New York City by Mayor Abraham Beame
1979 Honorary Member of American Academy and Institute of Arts & Letters
1979 Honorary Doctor of Letters, York University, Toronto, Canada
1981 Honorary Degree, Brandeis University, Massachusetts, USA
1981 Honorary Fellow, Christ's College, Cambridge University, England
1981 - 83 Member of Council, Royal College of Art, London
1982 - 89 Trustee, Tate Gallery, London
1982 - 92 Member of Council, Slade School of Art, London
1984 Trustee, Fitzwilliam Museum, Cambridge, England
1985 Honorary Doctor of Letters, Cambridge University, England
1986 Honorary Fellow , Royal College of Art, London
1987 Honorary Degree, University of Surrey, England
1987 Knight Bachelor, Queen's Birthday Honours
1988 Honorary Foreign Member, American Academy of Arts and Sciences
1989 Honorary Fine Arts Degree, Yale University, Connecticut, USA
1990 Honorary Fine Arts Degree, University of Alberta, Edmonton, Canada
1991 Honorary Fellow, Wolfson College, Oxford
1991 The Henry Moore Grand Prize: First Nobutaka Shikanai Prize,
1991 Hakone Open Air Museum, Tokyo, Japan
1992 Honorary Member, Accademia delle Belle Arte di Brera, Milan, Italy
1992 Praemium Imperiale Prize for Sculpture, Japan Art Association, Tokyo
1993 Honorary Doctor of Letters, Winchester School of Art,
1993 University of Southampton, England
1994 Honorary Doctorate, Royal College of Art, London
1996 Chevalier des Arts et Lettres, France
1996 Doctor Honoris Causa, University of Charles de Gaulle, Lille, France
1996 Honorary Doctor of Letters, Durham University, England
1997 Lifetime Achievement Award, International Sculpture Center, USA
1997 Honorary Fine Arts Degree, Florida International University, USA
1997 Honorary Fellow, Royal Institute of British Architects, London
1997 Honorary Fellow, Royal Society of British Sculptors, London
1998 Honorary Board of Trustees, International Sculpture Center, USA
1998 Honorary Fellow, Glasgow School of Art, Scotland
1998 Honorary Fellow, Bretton Hall College, University of Leeds, England
1999 Honorary Doctor of Letters, University of Westminster, London
2000 Order of Merit conferred by HM Queen Elizabeth

Dieter Blume : Anthony Caro. A Catalogue Raisonné, complete record of sculptures 1942-1996 in 12 volumes. Cologne/London/New York 1981-1996.

Richard Whelan: Anthony Caro, Harmondsworth, Middlesex 1974; E P Dutton, New York, 1975. Essays by Michael Fried, Clement Greenberg, John Russell, Phyllis Tuchman. ISBN 0-140-21797-5 (UK); 0-525-47405-5 (US).

William Rubin: Anthony Caro, Museum of Modern Art, New York, 1975; Thames & Hudson, London 1975. ISBN 08702750 (cloth); 0-870-70276-9 (paperback)

Diane Waldman: Anthony Caro, Abbeville Press, New York, 1982; Phaidon Press, Oxford, 1982. ISBN 0-896-59230-8

Terry Fenton: Anthony Caro. Ediciones Poligrafa S.A., Barcelona, 1986;Thames & Hudson, London, 1986; Rizzoli, New York, 1986; Albin Michel, Paris 1990. ISBN 8-434-30460-0 (Spain); 0-500-09172-2 (UK); 2-226-03962-7 (France)

Ian Barker (ed): Aspects of Anthony Caro exhibition catalogue, Knoedler Gallery/ Annely Juda Fine Art, London, 1989. ISBN 1-870-28017-2

Paul Moorhouse: Anthony Caro: Sculpture towards Architecture, Tate Gallery Publications, London, 1991. ISBN 1-854-37085-5

Karen Wilkin: Caro, Prestel, London, 1991, photos John Riddy. ISBN 3-791-31137-9

Ken Johnson Anthony Caro: The Cascades, Annely Juda Fine Art, London & André Emmerich Gallery, New York 1991. ISBN 1-870-28029-6

Giovanni Carandente Anthony Caro, Fabbri Editori, Sonzogno 1992

Shigeo Anzai: Caro by Anzai, photo-essay, Fuso Publishing Inc, Tokyo, 1992. ISBN 4-594-01047-4

Giovanni Carandente: Caro at the Trajan Markets, Rome, Lund Humphries, London, 1993. ISBN 0-853-31645-7

Clement Greenberg: Modernism with a Vengeance, 1957-1969 (Collected Essays, ed.John O’Brian, Volume 4), Chicago University Press, Chicago & London 1993, ISBN 0-226-30624-0

Julius Bryant & John Spurling: The Trojan War: Sculptures by Anthony Caro, Lund Humphries, London, 1994; reprinted 1997 in English and Greek. ISBN 0-853-31663-5 (English); 0-863-55358-3 (Greek)

Patrick Le Nouëne: Anthony Caro: Sculptures et dessins figuratifs des années cinquante et des années quatre-vingt, Musée des Beaux-Arts, Angers 1996. ISBN 2-901-28750-6
Julie Summers The Caros, a creative partnership: Sheila Girling and Anthony Caro, Friends of the Chesil Gallery, Portland 1996. ISBN 2-951-33851-x

Tim Marlow: Anthony Caro, Openluchtmuseum voor Beeldhouwkunst Middelheim, Antwerp 1997, in Dutch and English. ISBN 9-080-19908-7

Michael Fried: Art and Objecthood, Essays and Reviews, University of Chicago Press, Chicago & London 1998. ISBN 0-226-26318-5 (cloth); 0-226-26319-3 (paperback)

John Golding: Caro at the National Gallery: Sculpture from Painting, National Gallery, London, 1998. ISBN 1-857-09221-x

Ian Barker (ed): The Last Judgement: Sculpture by Anthony Caro, MuseumWürth/Verlag Paul Swiridoff, 1999. Essays by Peter Baelz, Hans Magnus Enzensberger, Nadine Gordimer, Robert Hinde, Philip Rylands, John Spurling, photos David Buckland. ISBN 3-934-35000-3

Giovanni Carandente: Anthony Caro and Twentieth-Century Sculpture, Museum Würth/Verlag Paul Swiridoff, 1999. ISBN 3-934-35001-1

Andrew Dempsey: Sculptors Talking: Anthony Caro-Eduardo Chillida, Art of This Century, Paris, 2000. ISBN 0-967-81240-2

Richard Morphet: Anthony Caro: Duccio Variations, Gold Blocks, Concerto Pieces, Marlborough Gallery, New York, 2001. ISBN 0-897-97213-9

The three last books on the list are generally available in bookshops. Trade enquiries may be directed to Art Data, 12 Bell Industrial Estate, 50 Cunnington Street, London W4 5HB. Tel: (44) 020 8747 1061; fax: (44) 020 8742 2319; gold@artdata.co.uk

Caro at the Trajan Markets can be ordered from Bookpoint; tel: 01235 827730, fax: 01235 400454, e-mail: orders@bookpoint.co.uk

Modernism with a Vengeance and Art & Objecthood can be ordered from University of Chicago Press: 11030 Langley Avenue, Chicago, IL 60628, tel: (+001) 773 568 1550; www.press.uchicago.edu


Two recent Publications including Anthony Caro interviews: Interviews with the Artists (ISBN 1-901-16162-5) and Small Histories: Studies of Western Art (ISBN 1-901-16123-4), CV Publications, London 2000, can be ordered from www.tracksdirectory.ndirect.co.uk


Caro's US exhibitions are reviewed in Piri Halasz' From the Mayors's Doorstep: piri.home.mindspring.com and Bill Bace's New York Review: www.reviewny.com


For a pricelist of available catalogues write to Barford Sculptures, PO Box 32033, London NW1 0FE or e-mail: sculpture@barford.org

Website of Sir Anthony Caro with detailed texts, images and contact information