Art Manifesto - Introduction

Introduction

Before the early 20th century, the manifesto was almost exclusively a declaration with political aims. The intention of artists adopting the form, therefore, is to indicate that they are employing art as a political tool.

The art manifesto has two main goals. The first is to define and criticize a paradigm in contemporary art or culture; the second is to define a set of aesthetic values to counter this paradigm. Often, manifestos aspire to be works of art in their own right; for instance, many manifesto writers intend for their texts to be performed. Other manifestos cannot be fully appreciated simply as written statements because they rely heavily on graphic design for communication, a common feature in Dada manifestos. There are also several instances of artists writing manifestos on mediums that are not their own.

Historically, there has been a strong parallel between the art manifesto and the political manifesto. It was not uncommon for manifesto writers of the early 20th century to also be politically active. In Italy, Futurist founder Filippo Tomasso Marinetti ran for office, and both Russian and Italian Futurists issued political manifestos. In England, Vorticist Wyndham Lewis supported the Suffragettes, while in France, Surrealist André Breton supported the Communist party. Often times however, these political organizations rejected the artists’ attention; in other cases, artists were censored and persecuted by European authoritarian governments, like Fascist Italy and Communist Russia, which institutionally rejected the avant-garde.