previews

  • Anthony Caro, The Window, 1966–67, painted steel, 7' 1 1/2“ x 12' 3 1/4” x 11' 5". Anthony Caro Family Trust.

    Anthony Caro, The Window, 1966–67, painted steel, 7' 1 1/2“ x 12' 3 1/4” x 11' 5". Anthony Caro Family Trust.

    Anthony Caro

    Tate Britain
    Millbank
    January 26–April 17, 2005

    Curated by Paul Moorhouse

    Marking Anthony Caro's eightieth year, this retrospective charts the sculptor's career across fifty works, beginning with early figurative pieces, made in the shadow of Henry Moore, and his celebrated aluminum-and-painted-steel sculptures of the '60s. The latter works represent Caro's contribution to the debate over the viability of late-modernist painting and sculpture and remain the basis of his considerable reputation. Seeing this work alongside recent pieces—abstracted table sculptures that reveal their inspiration in seventeenth-century painting, object-environment hybrids he awkwardly refers to as “sculpitecture,” and sculptures that reference classical Greek style—should provide a welcome opportunity to judge Caro's subsequent contribution to sculptural practice.

  • The Triumph of Painting

    Saatchi Gallery
    Duke of York's HQ King's Road
    January 26–May 31, 2005

    Curated by Charles Saatchi

    While ostensibly celebrating the Saatchi Gallery's twentieth anniversary, this exhibition (actually made up of three parts over the course of a year) looks more like an aggressive defense of the beleaguered adman's taste. It opens with a cherry-picking of his collection—forty-eight canvases by Kippenberger, Dumas, Tuymans, and three others—to make the case that Saatchi always knew what was best in painting. Thus awed, we're set up to predict a lasting future for the younger artists whose work he will display in subsequent months. Sceptics may wonder what proportion of Saatchi's acquisitions these historical hits represent, but his rampant and scattershot purchasing here reveals an upside: Whatever medium takes precedence next, Saatchi will most likely be able to say he was there first, too.

  • Tomoko Takahashi, Deep Sea Diving/Dive 2: Parking, 2002. Installation view, Kunsthalle Bern, 2002. Photo: Dominique Uldry.

    Tomoko Takahashi, Deep Sea Diving/Dive 2: Parking, 2002. Installation view, Kunsthalle Bern, 2002. Photo: Dominique Uldry.

    Tomoko Takahashi

    Serpentine Galleries
    Kensington Gardens
    February 22–April 10, 2005

    Curated by Rochelle Steiner

    Does Tomoko Takahashi think she can play games with us? Apparently so: Her teeming, sprawling, 3-D improvisations—epic accumulations of everyday stuff—are irresistible invitations to engage in a kind of ping-pong of the imagination. After much scrabbling at car-boot sales and London’s recycling depots, Takahashi will monopolize the Serpentine with a commissioned installation comprising thousands of games, toys, and found objects. Events are planned: Artist Leafcutter John will convert sounds made from items in the show into a musical piece; on the front lawn, Takahashi and Simon Faithfull will reprise it, 1999, an after-dark game of tag that’s open to all; and on the final day, visitors can walk off with whatever object they fancy. Serpentine chief curator Steiner referees.