A. Caro, 1961-63 Sculpture Seven (1961), Month of May (1963), Early One Morning (1962) kovinske elemente obarva, jih ponovno postavi brez podstavka in s tem postavi dela na nivo gledalca (tudi mentalno). Začne z odprto postavitvijo During the 1960s the main line of Caro’s development is his exploration of space
Anthony Caro: Room 3: Exploring space: 1961-1963 | Tate
A. Caro, Elephant Palace 1989 a work in welded bronze, demonstrates Caro’s interest in marrying organic forms with references to architecture.Xanadu 1986-8, was inspired by the pedimental sculpture of Greek temples. The soft, buckled steel echoes the ‘sensual rolling forms and figures contained and even forced into strict architectural shapes’. His involvement with architecture also fostered an interest in interior space.
A. Caro, Ordnance (1971); Emma Dipper (1977); Tundra (1975) In 1970 Caro abandoned bright colours and gentle curves and began making severe, unpainted sculptures. Ordnance 1971 shows Caro using steel in its raw state, advancing sculpture towards the world of engineered objects. Later works such as Tundra 1975 reveal a parallel move towards extreme formal simplicity. Both tendencies arise from a conviction that sculpture must be made more real, more literally a thing in itself.
>>http://www.tate.org.uk/whats-on/tate-britain/exhibition/anthony-caro/anthony-caro-room-5-table-sculpture-1966-1969 <Caro’s table sculpture responded to the growing tendency for sculptors to place their work directly on the ground. He now took the opposite course, addressing the problem of how to place smaller sculptures on plinths without implying they were maquettes for larger works