wrap it up, I'll take it

I've never been a big fan of public sculpture. It's usually too clunky and macho-metallic. There are a few exceptions.

But yesterday afternoon two prime examples of the least appealing (to me) kind of sculpture got a lot more interesting. They're probably getting a "treatment" of some sort, but somehow, these softened macho monoliths are much more satisfying.

Left and below: Anthony Caro, Monsoon Drift, 1975

Right: Ellsworth Kelly, Untitled, 1986

Happy Spring!

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