Introduction to British Sculpture Abroad in the 1960s

British Art Studies

Jon Wood¹ 

[1] Henry Moore Institute;

关键词: abstraction;    constructivism;    British Art;    Pop art;    sculpture;   

DOI  :  10.17658/issn.2058-5462/issue-03/jwood

来源: DOAJ

【 摘 要 】

In the 1960s, British sculpture enjoyed a complex transitional life, taking on a new, bold, and increasingly internationalized profile, at the very same time that its forms and meanings were being challenged and contested. Both in Britain and beyond its shores, sculpture experienced substantial reorientation at the same time as it developed a rich and complicated “import” and “export” life, conceptually, commercially, and curatorially. When “Sculpture” was “British” and “Abroad”, its “abroad-ness” was not always so explicitly visible, since its forms and concerns frequently chimed with sensibilities and approaches that were emerging elsewhere too, whether they were figurative or abstract, Constructivist or Pop. At the same time, when sculpture was being displayed in Britain, whether in terms of groups, schools, and/or recent tendencies, it was increasingly described as “British Sculpture”. Visual evidence of foreign impact and exchange gradually emerged at the same time as this national and generational trope became a cultural identifier on a broader cultural landscape.

【 授权许可】

Unknown