城市雕塑如何体现自身的公共性

发布时间：2018-04-20 01:35

  本文选题：城市 + 雕塑　； 参考：《美术观察》2013年02期

【摘要】：正20世纪60年代中期,美国极少主义雕塑家卡尔·安德烈曾将古典雕塑到极少主义雕塑的发展过程概括成三个重要阶段:"作为形状的雕塑,作为结构的雕塑,作为地点的雕塑",这三个阶段可以分别对应古典雕塑、现代雕塑与后现代雕塑。但是我们发现,当雕塑进入现代主义阶段后,其艺术本体的边界已发生了根本性变化,"地点"或"场地"替代了现代主义雕塑所追求的风格与"结构"。一旦雕塑将"场地"作为艺术本体的核心,而不再将个人化的风格与自律的形式表达作为要旨,雕塑自身的观念也就会发生革命性的变化,这就意味着现代主义雕塑的历史将会走向终结。20世纪60年
[Abstract]:In the mid-1960s, Carl Andre, the American minimalist sculptor, summed up the development from classical sculpture to minimalist sculpture in three important stages: "as a sculpture of shape, as a sculpture of structure," As the sculpture of place, these three stages can correspond to classical sculpture, modern sculpture and postmodern sculpture respectively. However, we find that when sculpture enters the modernism stage, the boundary of its artistic ontology has changed fundamentally, and "place" or "site" has replaced the style and "structure" pursued by modernist sculpture. Once the sculpture takes the "space" as the core of the art ontology, and no longer takes the individualized style and the self-discipline form as the main point, the concept of the sculpture itself will also undergo a revolutionary change. This means that the history of modernist sculptures will come to an end. 60 years of the 20th century.
【作者单位】： 四川美术学院美术学系;
【分类号】：J313.2
，

本文编号：1775674