PRINT Summer 1972

Caro’s New Sculpture

SCULPTURE HAS ALWAYS BEEN devoted to, and reached its highest expression, depicting the human figure. Sculpture concentrated especially on the figure because the physical difficulties of the medium would not allow panoramic depiction. Therefore sculpture never had a tradition of openness and extension—qualities natural to it—counting instead on the movement and surface of a mass. Ironically it was painting, the art of surface, which handed sculpture an instant tradition of openness and extension.

Painting is naturally adapted to the depiction of real images in (an illusion of) deep space. The integration of a realist painting is essentially guaranteed by that illusion because it makes a box in which objects can stand in relation to one another. In the last half of the 19th century the best painters saw that the quality of their art was specifically carried by the materials from which it

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.