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<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">JCER</journal-id><journal-title-group><journal-title>Journal of Contemporary Educational Research</journal-title></journal-title-group><issn>2208-8466</issn><eissn>2208-8474</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/jcer.v8i12.9180</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Crossing Boundaries in Sculpture: From Tradition to Diverse Expressions</title><url>https://artdesignp.com/journal/JCER/8/12/10.26689/jcer.v8i12.9180</url><author>ZhangGuangyang</author><pub-date pub-type="publication-year"><year>2025</year></pub-date><volume>8</volume><issue>12</issue><history><date date-type="pub"><published-time>2025-01-02</published-time></date></history><abstract>This paper explores how sculpture, as a medium, has transcended traditional boundaries and evolved into a diverse form of artistic expression that engages with both physical and social dimensions. Tracing the evolution from traditional materials and techniques to modernist breaks and conceptual art, this study delves into key turning points, including the shift towards abstraction, the role of the readymade, and the influence of site-specificity. It also examines how contemporary sculpture serves as a dynamic platform for addressing social, cultural, and political issues, fostering public engagement and transforming public spaces. By analyzing these developments, this paper highlights sculpture’s growing role as a medium that not only reflects but also shapes societal narratives.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Noguchi I, 2004, A Sculptor’s World, Steidl, Göttingen, Germany, 26.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Krauss R, 1979, Sculpture in the Expanded Field. The MIT Press, (8): 31–44.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Sun Z, 2021, The Transformation of Shenzhen Urban Sculpture into Public Art: From “Pioneer Ox” to “A Day in the Life of a Shenzhener,” Public Art.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
