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早在20世纪60年代中期,西方艺术界就出现了“泛雕塑”的现象。不过那个时候,“泛雕塑”也只是一种表象,背后真正的问题是现代主义雕塑遭遇到了前所未有的内在危机,以及需要回应外来的装置艺术对现代雕塑的冲击。实际上进入20世纪之后,西方现代艺术的两条发展线索所形成的合力在60年代曾掀起了现代主义雕塑“去雕塑化”的浪潮。以罗丹为起点,到后来的马约尔、布朗库西、贾科梅蒂,再到极少主义的艺术家,这条发端于现代雕塑内部的线索是比较清晰的。而且,它是从传统的学院雕塑、具象雕塑一步步走向形式,走向媒介,走向抽象的。外部的线索则从杜尚1913年以来的现
As early as the mid-1960s, there appeared the phenomenon of “pan sculpture” in the western art world. At that time, however, “Pan Sculpture” was only an appearance. The real problem behind this was the unprecedented crisis inherent in modernist sculpture and the need to respond to the impact of external installation art on modern sculpture. In fact, after entering the 20th century, the resultant force of the two development clues of Western modern art set off a wave of modernist sculpture “going to sculpture” in the 1960s. Starting with Roatan, later Maillol, Brancusi, Giacometti and then Minimalist artists, this clues to the interior of modern sculptures is clearer. Moreover, it is from the traditional college sculpture, figurative sculpture step by step to form, to the media, to the abstract. External cues are from Duchamp since 1913