Word: caro
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...Anthony Caro, at the MFA through May. Using scraps of steel--pieces of pipe, ends of sheet-metal, bits of gridding--Caro engenders his own brilliant constructions. His sculptures render natural forms in vividly painted metal: "Prairie," for example, folds and undulates; a cornfield--but in yellow steel. The patterns of "Orangerie" belie the stasis of the dusky orange metal, seeming to move like the shadows of leaves. Caro's efforts to capture the nature of water produce some of his most interesting work: "the Deluge" transfixes waves and spray, and "Cool Deck" slides and shimmers, a silvery stream. "Early...
...videotape is the antithesis of the show: the interviewer descends into banalities like: "Why did you work in such a small space?"--to which Caro, more than bored by the question, responds: "Economic necessity. Besides, it rains a lot, you know, in England...
Brian Buckley triggered an Exeter surge in the third with a triple and the Red grabbed the lead, 5-4. The Crimson knotted the score in the fifth when George Hughes walked, moved to second on a walk to Charly Caro, and then scored on an error by the first baseman...
During the 1960s a new kind of artist seemed to be emerging in London: pictor transatlanticus. Amid mutterings of dismay about Coca-Colonization, Anthony Caro, Richard Hamilton, Richard Smith and others addressed themselves to New York City as their elders had directed their genuflections to Paris. "To have worked in New York did make a tremendous difference," Smith recalls. "It set you at a certain distance from other English painters. You could never pick up again with artists who hadn't been there, except as friends. You had a different set of references...
...American background. Smith remains a very English artist. No matter what the style, English art has never felt like American, and one of the differences has to do with sociability. Smith's work is quite conversational in its ease of style. Like Caro's or Hockney's, it is permeated with a casual, offhand rightness about material, color and meetings of shape, but it is not polemical. No proposition about the future of art is being shoved in one's face. Hence its unlikeness to New York painting in the '60s, to that clamor...