Anthony Caro - The Hepworth Wakefield & Yorkshire Sculpture Park

Anthony Caro, Month of May, 1963

Caro in Yorkshire is at The Hepworth Wakefield and the Yorkshire Sculpture Park until 1 November 2015.
The coincidence of these exhibitions of Caro with those of Barbara Hepworth at Tate Britain (see below) and Henry Moore, also at YSP (see below), makes for an interesting comparison of the (arguably) major British, twentieth century abstract sculptors. Caro's innovatory, painted, welded sculptures of the 1960s represented a spectacular and radical turning away from the 'humanist', organic, carved work associated with Moore and Hepworth.
As noted in the entry marking his death in 2013 (see below)  Caro (having worked as an assistant to Moore) was profoundly influenced by the work of the Abstract Expressionists and, in particular, by the work of sculptor David Smith and the ideas of Clement Greenberg experienced during a visit to the United States in 1959.
I like Adrian Searle's description of  an encounter with Caro's best work: "[They] dance in front of you and you have to dance with them and around them. This involves lots of sidling and bending, squats and pirouettes, circling and shimmying." 
Personally, I like the painted work of the 1960s the best - it still seems fresh and lyrical.
Read reviews by Adrian Searle, Mark Hudson, Jackie Wullschlager, Karen Wright, Louisa Buck and William Cook.

Anthony Caro, Twenty Four Hours, 1960

Anthony Caro, Sculpture Seven, 1961

Anthony Caro, First National, 1964

Anthony Caro, Slow Movement, 1965

Anthony Caro, The Window, 1966-7

Anthony Caro, Double Shot, 1987-93

Anthony Caro, Forum, 1992-4

Anthony Caro, Promenade, 1996

Anthony Caro, Morning Shadows, 2012

Anthony Caro, Rhapsody, 2011-12

Anthony Caro, Terminus, 2013

Anthony Caro, End of Time, 2013

Henry Moore - Yorkshire Sculpture Park

Henry Moore, Large Two Forms, 1966-69

Henry Moore: Back to a Land is at The Yorkshire Sculpture Park until 6 September 2015.
Like his contemporary Barbara Hepworth, Henry Moore's sculpture developed in close relation to the landscape; in contrast to the concurrent exhibition of Hepworth at Tate Britain (see below) where her work is confined to quarters, this exhibition (co-curated by Mary Moore, the artist's daughter) puts the work into the open air - where it belongs.
Moore and Hepworth were lonely representatives of British Modernism on the international stage in the first half of the twentieth century; however, in the 1960s work that, pre-war, had seemed the last word in avant-gardism began to seem conservative, not least in contrast to the radical work of one of Moore's former assistants - Anthony Caro. The Yorkshire Sculpture Park now offers the opportunity to compare and contrast with a concurrent exhibition of work by Caro (see above). 
Read a feature by Mark Brown interviewing Mary Moore: Damien Hirst set back art by 100 years, says Henry Moore's daughter.

Henry Moore, Large Reclining Figure, 1984

Henry Moore, Two Piece Reclining Figure: Points, 1969

Henry Moore, Draped Reclining Figure, 1978