Minimalizam

**Minimalizam** ili **minimalistička umetnost** (1960—1975) je umetnički pokret koji odbacuje komentarisanje društva, lični izraz umetnika, narativne elemente ili aluzije na istoriju, politiku ili religiju. Bazira se na stvaranju predmeta, slika, skulptura i muzike čija je vrednost isključivo estetskog karaktera. Minimalisti su ograničili svoje delovanje na manipulaciju elementima kao što su boja, tonovi, oblici, linije i tekstura. Prvi koji je koristio termin minimalizam bio je kritičar David Burljuk u izložbenom katalogu umetnika Džona Grahama na izložbi slika koja je održana u galeriji Dadensajng u Njujorku, 1929. godine. Kasnije, šezdesetih godina dvadestog veka, to ime je dobio celi jedan pokret. Još neki nazivi za minimalizam su: **ABC umetnost** i **reduktivizam**. Ovaj pokret je rezultat reakcije na pretencioznost apstraktnog ekspresionizma i prima uticaje od pop umetnosti, kubizma i konceptualne umetnosti, sa glavnom inspiracijom u ruskoj avangardi, konkretnije u suprematizmu Kazimira Maljeviča.

Pokret je nastao u SAD, a među glavnim pokretačima ističe se umetnik Frank Stela. Njegova izložba „Crne slike“ (*Black Paintings*), priređena 1959. godine u Muzeju moderne umetnosti  u Njujorku (, skr. *MoMA*), ubrzo je postala inspiracija mnogim umetnicima, koji su počeli da napuštaju „ekspresiju“. Glavni istorijski događaj pokreta bila je izložba, održana 1966. godine u Njujorku, pod imenom „Osnovne strukture“ (*Primary Structures*).

Preciznost ujedno sa geometrijom i ponavljajućim dekorativnim šemama, ravnim i jednolično obojenim površinama sa čistim i nemešanim bojama, glavne su odlike minimalizma. Baza su geometrijske, racionalne šeme, a industijski materijali se koriste za eliminisanje tragova „ručnog rada“ umetnika. Spoljašnji izgled predmeta je glavni estetski kvalitet minimalizma.

Minimalizam želi da posmatrač uživa umetničko delo bez distrakcija kompozicije, tema i ostalih elemenata iz tradicionalne umetnosti. Materijali i način na koji je delo predstavnjeno su ujedno i sama njegova stvarnost ili tematika, ali takođe i razlog samog „postojanja“. Minimalizam ne pretenduje nikakvu drugu simboliku osim onoga što se može videti u samom delu. Boja se ne koristi za izražavanje osećanja nego za ograničavanje prostora. Apstraktni odnosi između različitih elemenata treba da navedu posmatrača na razmišljanje i ujedno su i sama srž tematike. Odbacuje se ideja iz tradicionalne umetnosti, po kojoj umetnost treba da bude lični izraz umetnika. Iako postoji dosta toga emotivnog i podsvesnog u minimalizmu, umetnik minimalista odbacuje osećanja kao princip stvaralaštva umetničkog dela i smatra da je reakcija na delo od strane posmatrača od primarne i suštinske važnosti.

Minimalizam ispituje prirodu umetnosti i njeno mesto u društvu. Iako su neki kritičari smatrali da je minimalizam umetnost koja će slabo uticati na dalji razvoj savremene umetnosti, ne mogu se negirati posledice i uticaji koje je ostavila na teoriju i praksu „postmoderne“.

## Umetnici minimalisti
* Karl Andre (*-{Carl Andre}-*) 
* Donald Džud (*-{Donald Judd}-*) 
* Keli Elsvort (*-{Kelly Ellsworth}-*) 
* Robert Moris (*-{Robert Morris}-*) 
* Ad Reinhart (*-{Ad Reinhardt}-*) 
* Robert Smitson (*-{Robert Smithson}-*) 
* Frank Stela (*-{Frank Stella}-*) 
* Sol Levit (*-{Sol Lewitt}-*) 
* Valter de Marija (*-{Walter De Maria}-*)

## Povezano
* Postminimalizam

## Reference

## Literatura

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* 
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* 
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* Potter, Keith. 2000. *Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass*. Music in the Twentieth Century series. Cambridge and New York: Cambridge University Press. .
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* Rodda, Richard E. (1999). Liner notes, *Violin Concertos of John Adams & Philip Glass*, Robert McDuffie (violin). Telarc, CD-80494.
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* Schönberger, Elmer. 2001. "Andriessen: (4) Louis Andriessen". *The New Grove Dictionary of Music and Musicians*, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers; New York: Grove's Dictionaries of Music.
* Schwarz, K. Robert. 1996. *Minimalists*. 20th Century Composers Series. London: Phaidon. .
* 
* Sitsky, Larry. 2002. *Music of the Twentieth-Century Avant-garde: A Biocritical Sourcebook. Westport, CT: Greenwood Press. 
* Strickland, Edward. 1993. *Minimalism: Origins*. Bloomington: Indiana University Press.  (cloth);  (pbk, corrected and somewhat revised printing, 2000). Chapter T, pp.&nbsp;241–56, reprinted as Strickland 1997.
* Strickland, Edward. 1997. "Minimalism: T (1992)". In *Writings on Glass: Essays, Interviews, Criticism*, edited by Richard Kostelanetz and Robert Flemming, 113–130. Berkeley and Los Angeles: University of California Press; New York: Schirmer Books. . Reprint of a chapter from Strickland 1993.
* Sweeney-Turner, Steve. 1995. "Weariness and Slackening in the Miserably Proliferating Field of Posts." *Musical Times* 136, no. 1833 (November): 599–601. 
* Warburton, Dan. 1988. "A Working Terminology for Minimal Music." *Intégral'' 2:135–59. 

## Vanjske veze

* Muzej savremene umetnosti u Beogradu
* -{Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées}-
* -{"A Short History of Minimalism—Donald Judd, Richard Wollheim, and the origins of what we now describe as minimalist" By Kyle Chayka January 14, 2020 The Nation }-
* -{Art of the States: minimalist minimalist works by American composers, including audio samples.}-
* -{Art and Music Since 1945: Introduction to Minimal Music, from Ohio State University's Department of Art Education.}-
* -{Minimal Music, Maximal Impact, by Kyle Gann, with a more comprehensive list of early minimalists.}-