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曾经,“雕塑是什么”的问题是没有疑义的。但在过去的100年里,从杜尚的《小便池》到库苏斯的《椅子》,随着艺术概念不断被突破,雕塑的概念也被极大地宽泛化了。这一进程的直接结果是原来相对边缘的雕塑,逐渐取代了绘画在现代艺术中的主导地位。尤其是在20世纪60年代以后,波普、新现实、激浪、极少、大地、动态、过程、贫困、物派、偶发、感觉——后现代艺术的观念方式、行为方式、装置方式、集合方式,几乎都被纳入了这种“泛雕塑”的范畴。经过波普和激浪的冲击,艺术与生活的边界已经变得模糊不清,所有颠扑不破的真理都遭到无情的质疑,雕塑的领域也就随之扩阔,甚至到了泛滥的程度。
There was no doubt about the question of “what is a sculpture?” But over the past 100 years, the concept of sculptures has been vastly broadened as Ducao’s “urinal” to Kusus’s “chair” have been constantly being broken down as the concept of art continues. The direct result of this process is the original sculpture on the opposite edge, gradually replacing the dominance of painting in modern art. Especially after the 1960s, Popper, New Reality, Surf, Few, Earth, Dynamic, Process, Poverty, Things, Sporadic, Feelings - The Way of Concept, Behavior, Installation and Collection of Postmodern Art Way, almost all are included in this category of “pan-sculpture”. After the impact of pop and surging waves, the boundary between art and life has become blurred. All unspeakable truths have been mercilessly questioned, and the field of sculpture has been widened and even flooded.