G This issue of Sculpture Review features Relief Sculpture. Why is it a unique form of sculpture? ED: Through every major artistic period, relief sculpture has been a well-represented art form and has continued to evolve into the present. Because most relief sculpture before the twentieth century was carved in stone it has often survived the ravages of time. So the voices expressed through this medium have been uniquely continuous. One of the powerful aspects of relief is its relationship to narrative. Relief has been employed to express narrative—articulating political, historical, and spiritual ideas. Narrative has been employed to such a great extent in sculptural relief that it seems to be expected by the viewer or implied by the sculptor. Another important way in which relief sculpture is different from three-dimensional sculpture is in its particular relationship to architecture: Relief sculpture invites the viewer to see a specific visual point of view rather than allowing the viewer to move around the sculpture. Relief sculpture is also ever-present in the coin of the realm. Nearly everyone is walking around with little sculptures in their pockets. This creates a very intimate cultural connection that three-dimensional sculpture cannot claim. WITH GUEST CURATOR, EUGENE DAUB

中文翻译：

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采访客座策展人，尤金·达布

G 本期 Sculpture Review 以 Relief Sculpture 为特色。为什么它是一种独特的雕塑形式？ED：在每一个主要的艺术时期，浮雕一直是一种很好的艺术形式，并不断发展到现在。因为 20 世纪之前的大多数浮雕都是用石头雕刻而成的，所以它常常能经受住时间的摧残。因此，通过这种媒介表达的声音具有独特的连续性。救济的强大方面之一是它与叙事的关系。救济被用来表达叙事——阐明政治、历史和精神观念。叙事在雕塑浮雕中的应用程度如此之大，以至于它似乎是观众所期望的或雕塑家所暗示的。浮雕与立体雕塑的另一个重要区别在于它与建筑的特殊关系：浮雕邀请观众看到特定的视觉观点，而不是让观众在雕塑周围走动。浮雕雕塑也常出现在王国的硬币中。几乎每个人都带着小雕​​塑四处走动。这创造了一种非常亲密的文化联系，这是 3D 雕塑无法声称的。特邀策展人尤金·达布 几乎每个人都带着小雕​​塑四处走动。这创造了一种非常亲密的文化联系，这是 3D 雕塑无法声称的。特邀策展人尤金·达布 几乎每个人都带着小雕​​塑四处走动。这创造了一种非常亲密的文化联系，这是 3D 雕塑无法声称的。特邀策展人尤金·达布