Manifestos in The Early 20th Century
Courtesy of new technological aspects triggered manifestos and movements in art, in the dawn of the 20th century. Based on Rodchenko, Marinetti, and Lissitzky, the old phase of art has been foregone due to the need of making art more presentable than it had always been in the past. These artists would speculate on possible dematerialization where everything was done in the art would involve fewer burdens. Perhaps the aim was to reduce the high cost incurred, or even with the cost being high, the total quality would rise. I learn the objective was to minimize cumbersome materials leading to energy loss, improving the future in all aspects through art as well as bringing humankind together: That is, through technology for a better life.
I would say Lissitzky encouraged on new printings to improve book art. He went further in photography invention to attract clients in photographic art and raised the network of communication. In the writings of Rodchenko, art is boosted through unique photography angles and the formation of letters. More importantly, the latter gives constructivism a visual by raising voices and inciting the humankind. Marinetti seems to be focused on bringing the bigger picture of the future. I would say the artist understands that to improve art, support and embracement is required. This drives the desire to portray futuristic images in people with advanced art. However, in different ways, these artists have ignited the new technological basis to improve art.
The ideas of the three artists revolve around the same goal: That is, reinvention by doing away with the old art as well as introducing a new work of art. They all focus on future improvements for humankind. However, I believe the writer’s ideas on pursuing this might diverge. Perhaps this might be possible in the implementation of strategies. I believe some ideas will be capital intensive while others may be labour intensive. This might, therefore, lower the higher success chances.