Art manifesto
[citation needed] The manifesto gives a means of expressing, publicising and recording ideas for the artist or art group—even if only one or two people write the words, it is mostly still attributed to the group name.
It initiated an artistic philosophy, Futurism, that was a rejection of the past, and a celebration of speed, machinery, violence, youth and industry; it was also an advocation of the modernization and cultural rejuvenation of Italy.
Objects in reality were not separate from one another or from their surroundings: "The sixteen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motionless and they change places...
The book was illustrated with works by Gleizes, Metzinger, Paul Cézanne, Fernand Léger, Juan Gris, Francis Picabia, Marcel Duchamp, Pablo Picasso, Georges Braque, André Derain and Marie Laurencin.
It was in part a concept born out of a conviction based on the authors understanding of Henri Poincaré and Bergson that the separation or distinction between space and time should be comprehensively challenged.
The Realistic Manifesto (published August 5, 1920) was written by Russian sculptor Naum Gabo and cosigned by his brother Antoine Pevsner, and the key text of Constructivism.
The document defines Surrealism as: Base de la peinture concrète, was written by Otto G. Carlsund, Theo van Doesburg, Jean Hélion, Marcel Wantz and Léon Arthur Tutundjian, published in Revue Art Concret, no.
Working on art for the regime's newspaper, Il Popolo d'Italia, Sironi eventually contributed by creating murals for the 1932 Exhibition of the Fascist Revolution.
CoBrA manifesto, titled La cause était entendue, written by Christian Dotremont, and signed by Karel Appel, Constant, Corneille, Asger Jorn, and Joseph Noiret in 1948.
It has only 70 points and is written a grand utopian rhetorical manner, with statements such as, "A new, ravenous force of domination will push men toward an unimaginable epic poetry."
However, it has become part of art history, because it was published in 1968, the same year that Solanas, who had spent time in Andy Warhol's "Factory", shot and nearly killed him.
Through this such "maintenance" revealed itself as an important condition for freedom and social functioning and she extended the idea beyond feminism to projects like the 11 month Touch Sanitation, involving 8,500 New York workers.
She issued "written manifestos predicting with vengeance the future of women's art" and "made important theoretical contributions to communicating a personal feminism in performance.
'"[36] [37] The French Sociological art Collective was founded by Fred Forest, Jean-Paul Thénot and Hervé Fischer and had their manifesto published in the newspaper Le Monde.
[18] In 1975 François Pluchart promoted the first Body Art show at the Galerie Stadler in Paris, with work from 21 artists, including Marcel Duchamp, Chris Burden and Katharina Sieverding.
[18] by Paul Hartal This is a four-page document illustrated with nine black and white images of the artist's paintings, collages and multimedia, published in Montreal in 1975.
"My art is a painted metaphor; the past machine of a perpetual second, the fossil emotion of an infinite longing, the magic desire evolving on the broken axis of the compressed space, reflected in the form of inner, personal landscapes", writes Hartal in the manifesto.
It "derives from the id, ego and superego"; an "art in which the primarily twofold character of the artist's view evolves into a lyrical, intuitive and conceptual triad".
It is a single sheet, issued by the Bread and Puppet Theater "in direct response to the business of art and its growing appropriation by the corporate sector."
VNS Matrix, a group of Australian women artists and British cultural historian, Sadie Plant, established a cyberfeminist movement in 1994.
New Ink Art movement was for a long time considered a local (Hong Kong) or regional or Chinese national artistic phenomena founded by Lui Shou-Kwan /1919-1975/[62] (some still thinks about it in that way).
The original manuscript of Krupa's New Ink Art Manifesto from 1996 is the property of the documenta (exhibition) archiv, records and papers collection in Kassel (the access number docA-97).
by Guy Bleus With the participation of 34 artistic networkers (such as, Anna Banana, Sarah Jackson, Madelyn 'Honoria' Starbuck, Judith Hoffberg, Vittore Baroni, Ken Friedman, John Held Jr., Ruud Janssen, György Galántai, Rod Summers, Andrej Tisma) from 13 countries Guy Bleus (aka 42.292) wrote the RE: E-Mail-Art & Internet-Art Manifesto.
Widespread access to the internet has created a new incentive for artists to publish manifestos, with the knowledge that there is an instant potential worldwide audience.
It has also led to a great diversity of approaches, as well as a noticeable trend looking back at earlier traditions of Modernism or the Renaissance to create a present and future paradigm.
Point 4 of the manifesto discusses Japanese aesthetics in relation to the idea of Remodernist film: "The Japanese ideas of wabi-sabi (the beauty of imperfection) and mono no aware (the awareness of the transience of things and the bittersweet feelings that accompany their passing), have the ability to show the truth of existence, and should always be considered when making the remodernist film".
Instead, the Remodernist film philosophy seems to be somewhat anti-ego, with Richards noting that "this manifesto should be viewed only as a collection of ideas and hints whose author may be mocked and insulted at will".
"[86] The manifesto recognised "oscillation to be the natural order of the world" and called for an end to "the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.
"[87] Instead, Turner proposed metamodernism as "the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in pursuit of a plurality of disparate and elusive horizons," and concluded with a call to "go forth and oscillate!
It starts out in a typically dense fashion: "Excessive use of resources in magnified state, by which one expresses: by means of two, or three dimensional visual-creations, written, or pronounce words, or in any other manner.
