(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.


25 April 2011

Anthony Caro on the Roof at the MET

Tonight I was lucky enough to visit the Metropolitan Museum of Art after hours for the rooftop opening of Anthony Caro's large scale sculptures. The works are fundamentally and absolutely beautiful; possessing simple form and color, yet, all the while convoluted when looking at the sculptures within the their backdrop: a foggy, Central Park, spring dusk and watching the interaction amongst others on the rooftop. The crowd, I thought at first, a bit stodgy, until I felt out the vibe--simply just another world. A mature artist with a humble aura, Anthony Caro was a darling and deserved to be proud of his work. I giggled when two older women had water dumped on their head that dropped from the canopy holding the runoff from the last few days of rain. They wore it well in their Gucci's, even though they were drenched through the reception. I later felt bad about giggling. Read below for more information.

[From the MET website]:Sculptures by Anthony Caro (b. 1924)—who is considered the most influential and prolific British sculptor of his generation and a key figure in the development of modernist sculpture over the last sixty years—will be featured in the 2011 installation on The Iris and B. Gerald Cantor Roof Garden. The installation will feature a selection of sculpture in steel, painted and unpainted, spanning the artist's career to date and highlighting principal aspects of his long career: engagement with form in space, dialogue between sculpture and architecture, and creation of new, abstract analogies for the human figure and landscape.

This year marks the fiftieth anniversary of the first exhibition of steel sculpture by the artist, who lives and works in London. The large-scale works on view this summer will be Midday, 1960 (Museum of Modern Art, New York), After Summer, 1968 (Collection of Audrey and David Mirvish, Toronto), Odalisque, 1984 (The Metropolitan Museum of Art, New York), Blazon, 1987–90 (Courtesy of Mitchell-Innes & Nash, New York and Annely Juda Fine Art, London), and End Up, 2010 (Collection of the artist, courtesy of Mitchell-Innes & Nash, New York). The installation will be situated in the Museum's dramatic open-air space offering unparalleled views of Central Park and the New York City skyline.






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