• Anthony Caro, Hopscotch, 1962, aluminum, 18' 1“ x 7' x 8' 2 1/2”.

    Anthony Caro, Hopscotch, 1962, aluminum, 18' 1“ x 7' x 8' 2 1/2”.

    Anthony Caro

    Museo Correr
    Piazza San Marco, 52
    June 1–October 27, 2013

    Curated by Gary Tinterow

    Only a few twentieth-century sculptors have been thought to achieve “breakthrough” work. If Anthony Caro can be counted among them, it is due to the fact that in the early 1960s, the British artist’s painted metal constructions managed to “invade space,” to borrow Clement Greenberg’s famous phrase. Marshalling lines of force and direction, yet deploying no preordained pattern, Caro’s pieces seem to be organized according to an axial symmetry that has surrendered to the structural laws of intersection and relationship—an internal energy that in 1963 Michael Fried memorably dubbed “syntax.” Fifty years later, Fried will doubtless revisit that term in his catalogue essay for this fascinatingly far-ranging survey of sculptures, drawings, and three-dimensional paper works from the artist’s nearly seven-decade-long career.

  • “When Attitudes Become Form: Bern 1969/Venice 2013”

    Fondazione Prada | Milan
    Largo Isarco 2
    June 1–November 24, 2013

    Curated by Germano Celant, Thomas Demand, and Rem Koolhaas

    This summer, every young curator’s dream comes true: Instead of perusing that good old catalogue, in itself an art-world fetish of the highest caliber, everyone will be able to see the contents of Swiss curator Harald Szeemann’s most legendary exhibition in the flesh. “Live in Your Head: When Attitudes Become Form” appeared at the Kunsthalle Bern in 1969 as Europe’s first major survey of Conceptual art. The local criticism was so ruthless that Szeemann decided to resign as the museum’s director, only to assume a new role (one that he is credited with inventing): that of independent curator. Organized by Germano Celant in dialogue with artist Thomas Demand and architect Rem Koolhaas, this reconstruction will include 90 percent of the show’s original works and will be accompanied by a publication with no fewer than fifteen essays by such historians as Mary Anne Staniszewski and Benjamin H. D. Buchloh.