20.500.12556/DKUM-60899 SMRT AVTORJA IN ROJSTVO GLEDALCA: PRIMER MINIMALIZMA THE DEATH OF THE AUTHOR AND THE BIRTH OF THE SPECTATOR: AN EXAMPLE OF MINIMALISM Pričujoče diplomsko delo je nastalo z namenom osvetliti obdobje minimalizma, ki s svojo estetsko enostavnostjo in čistostjo objektov odpira problematiko prostora umetnosti, njene izkušnje in, navsezadnje, tudi vprašanje pomembnosti avtorja, ki se zdi, da se v obdobju vedno večje redukcije in konceptualizacije umetnosti namerno izgubi. Z izhodiščem v novih radikalnih vzgibih, obravnavam na kratko – v primerih pojavov kot so: bela kocka, readymade, »smrt« avtorja, aktivacija prostora, participacija in položaj gledalca, umetniška neopredeljenost objektov – problematiko pomembnosti in moči razstavnega prostora, avtorstva in problema umetnosti same, originalnosti ter, končno, percepcije umetniškega dela, kjer je umetnost podana skozi teorijo Mauricea Merleau-Pontyja, kot dejanska resnica in kot najboljša možnost za njeno spoznanje in naše biti, ki se porodi iz prostora utelešenega bivanja. Vsi navedeni dejavniki so kot skupek neizbežno vodili v popolno ukinitev formalnih norm in v redukcijo, kjer se je zdelo, nasploh preseganje klasične tradicije, edino optimalno sredstvo za doseganje čimbolj neposredne in čiste izkušnje umetniškega objekta. Tako sem v osrednjem delu predstavila obdobje zvesto cilju redukcije v korist gledalčevi neposredni izkušnji resnice, ki je nastalo v 60.-tih letih prejšnjega stoletja, in bilo združeno pod imenom minimalizem; notranjo pestrost obdobja je prikazana z izhodišči, teorijami in umetniškimi deli Donalda Judda in Roberta Morrisa. The purpose of the following thesis was to shed light on the period of minimalism. With its aesthetic simplicity and purity of objects, minimalism problematizes space in art, the experience of art, and also the question of the significance of the author, which seems to be omitted intentionally in the period of reductive art. Based on new radical movements, I discuss in brief (with cases such as the White Cube, readymade, the death of the author, the activation of space, spectator participation and position, the artistic detachment of objects) the importance of the power of the exhibition venue, authorship, as well as the issue of art itself, its originality, and finally, the perception of a work of art. The theory of Maurice Merleau-Ponty was applied, where art represents the actual truth which arises from space, serving as the best chance for the realization of truth, as well as the realization of our own essence. As a set, all the stated factors inevitably led to the complete abolishment of nominal norms, as well as to reduction, where exceeding the classical period seemed as the only optimal means for reaching the utmost direct and pure experience of an art object. In the main part of the thesis, I presented minimalism, the period from the 1960s which was loyal to reduction in favor of the spectator’s direct experience of truth. I portrayed the inner diversity of the period with bases, theories, and works of art by Donald Judd and Robert Morris. razstavni prostor Merleau-Ponty percepcija telo izkušnja gledalec avtor minimalizem Robert Morris Donald Judd exhibition venue Merleau-Ponty perception body experience the spectator the author death minimalism Robert Morris Donald Judd true true false [N. Verčko] Slovenski jezik Angleški jezik Diplomsko delo 2016-07-07 23:24:37 2016-09-20 09:35:06 2022-06-25 03:06:35 2019-07-11 12:02:27 2016 0 Maribor 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 7.038.42(043.2) 22551304 URN:SI:UM:DK:QYBUNQ7Y UN_Vercko_Nina_2016.pdf UN_Vercko_Nina_2016.pdf 1 1ACEDE5B75771F85B994C4F887B32526 02547d594c3a944b7425d11d6d40c312c7a2d08da8d56fb4a99508c4d5df4fb9 e21c0a0e-7c0c-11eb-bb7a-00155d0001ca https://dk.um.si/Dokument.php?lang=slv&id=96486 Pedagoška fakulteta 0 0 0