Ukrainian sculpture of the late XX – early XXI centuries: diffusion effect

Abstract

The article presents the consistent historical development of Ukrainian sculpture of the late XX - early XXI centuries. The reasons for the slow progress in the implementation of innovative ideas and technologies in three-dimensional plastics are emphasized by the continued use of the post-Soviet terminological concept of "Easel sculpture" and the monopoly of generations of experienced masters. The final selection and vision of creative works of young sculptors, was determined by older generation sculptors. The creative work of the artists who determined the progressive characteristics of Ukrainian sculpture is analyzed. They are conditionally divided into three generations. Three directions of blurring the traditional boundaries of the sculpture are analyzed. The first characterizes the appeal to the three-dimensional plastics of artists who did not study specialty in specialized departments. The second direction is characterized by a clear involvement in the sculpture of artists, who in the Soviet Union of Artists were called "applied artists". The third direction marks the exit of the sculpture within the limits of the latest art forms - installation, landscape art, body art, performance art, video art. Examples of creativity of well-known artists, new vision of sculpture, technological aspects, variety of materials are presented. The question of conceptual changes in the exhibition three-dimensional plastics, which in recent years have significantly influenced public sculpture, is being raised. It is determined that in the process of generational change, Ukrainian sculpture gets rid of post-Soviet stereotypes, becomes closer to a person, organically enters into an architectural or natural environment, and loses its usual outlines