Caro at Chatsworth is the first solo show by an artist at Chatsworth. The exhibition comprises 15 monumental sculptures in steel by Anthony Caro. The works are sited in front of the south facade of Chatsworth House and together reflect many of Caro’s concerns from the past 40 years.
Chatsworth’s newly restored baroque architecture, its gardens, the fountains, the extensive park and the imposing presence of the Peaks beyond, combine to create an impressive setting.
Any contemporary sculpture within these grand surroundings has much to compete with, so the exhibition needed an artist like Caro, who makes sculpture that would not be overshadowed by the magnificence of the location. In the exhibition, the house and grounds come together to create a harmonious whole.
The aim of the catalogue we produced was to provide a long-lasting record of a temporary installation. Through specially commissioned texts and photographs, it captures the scope of the exhibition as well as the combination of these modern sculptures in this historic setting.
There was no question in my mind that a catalogue was the best means to do this, despite the growing scepticism about book publishing. The familiar arguments are that catalogues are time-consuming and costly to produce; they are irrelevant in a digital age; they often appear months after an exhibition has opened; and they are frequently expensive to buy so they just sit around taking up space.
To the credit of everybody involved, this catalogue appeared on time and on budget. It retails at a very modest price (£10) and I feel it will have a relevant shelf life long after the exhibition is over.
To ensure this publication was ready in time meant installing the works in advance (during a period of sub-zero temperatures and six inches of snow). This allowed Gautier Deblonde to take the installation photography at the beginning of March.
It takes commitment from everyone concerned to achieve such great results, from the heroic efforts of the team of staff at Chatsworth, who installed the works so expertly, to Deblonde standing in the middle of the Canal Pond in waders to take the image that’s on the catalogue’s front cover.
Such determination ensured the success of the end results, but is invisible to anyone who wasn’t there and for most people who look at the catalogue. That is the way it should be.
Stephen Feeke is a curator at the New Art Centre, Roche Court Sculpture Park, Wiltshire.
Caro at Chatsworth is at Chatsworth House, Derbyshire, until 1 July
Chatsworth’s newly restored baroque architecture, its gardens, the fountains, the extensive park and the imposing presence of the Peaks beyond, combine to create an impressive setting.
Any contemporary sculpture within these grand surroundings has much to compete with, so the exhibition needed an artist like Caro, who makes sculpture that would not be overshadowed by the magnificence of the location. In the exhibition, the house and grounds come together to create a harmonious whole.
The aim of the catalogue we produced was to provide a long-lasting record of a temporary installation. Through specially commissioned texts and photographs, it captures the scope of the exhibition as well as the combination of these modern sculptures in this historic setting.
There was no question in my mind that a catalogue was the best means to do this, despite the growing scepticism about book publishing. The familiar arguments are that catalogues are time-consuming and costly to produce; they are irrelevant in a digital age; they often appear months after an exhibition has opened; and they are frequently expensive to buy so they just sit around taking up space.
To the credit of everybody involved, this catalogue appeared on time and on budget. It retails at a very modest price (£10) and I feel it will have a relevant shelf life long after the exhibition is over.
To ensure this publication was ready in time meant installing the works in advance (during a period of sub-zero temperatures and six inches of snow). This allowed Gautier Deblonde to take the installation photography at the beginning of March.
It takes commitment from everyone concerned to achieve such great results, from the heroic efforts of the team of staff at Chatsworth, who installed the works so expertly, to Deblonde standing in the middle of the Canal Pond in waders to take the image that’s on the catalogue’s front cover.
Such determination ensured the success of the end results, but is invisible to anyone who wasn’t there and for most people who look at the catalogue. That is the way it should be.
Stephen Feeke is a curator at the New Art Centre, Roche Court Sculpture Park, Wiltshire.
Caro at Chatsworth is at Chatsworth House, Derbyshire, until 1 July
