1.

  1. We admit that the love of creating and making art and profiting from that creating has left many artists and creatives blind with our own ego, self-love & self-loathing. The desires to claim that which we lost or never had left us blind to humanity and our fellows suffering. All the power we obtained was used to soothe bruised egos, puff ourselves up, and lead to useless or purposeless goals which left us in a place of physical, moral and spiritual bankruptcy. 

​2.

We needed to find a better way of making art and living with our fellow artists and creatives in order to bring about an art world that honors and improves the lives of art makers and those who collect, critique, view and participate with art.   The purpose of contemplating and making a real effort to bring about the creating or inspiring of solutions to real world problems.  We tried to achieve this in many ways but found that we needed a place of mutual respect for all our fellows with the site of a higher power or higher love as it were.

3.  We realized that our relationships with our work, ourselves and our fellows had to change.  We needed to incorporate elements and ideals that embraced things that we previously saw as low art, kitsch, perhaps even foolishness in order to expand our practice and acceptance of a wider extension of our community.  We had to look for the magic in places that we previously viewed as beneath us for the sake of creating humility in service of a larger community instead of being the God figure. We were honoring that which has been given to us by a modernist, formalist and traditional aesthetics historically while giving ear to the avant-garde and the experimentation of the new as well as revival of the old and retried. We had to stop blaming those that came before us and take responsibility of self-parenting.  Stop complaining that GOD is dead because things didn’t go as we wanted and look for a collective Good OrderlyDirection that helped and fed our spirits and those around us. Realizing that what others believed about a heavenly parent was a personal matter and that there very well may be a heavenly mother or father, but we were not him or her or it.

4.

We believe in a spiritual making of art that has been passed on to us, however, that is attained honoring our personal gifts by acknowledging those gifts that have been given us, it has been passed on from our mentors and teachers, and/ or we have experimented to discover some of these practices through our own or collective experiences as well.  

 

5.

We needed to take a good look at our practice thus far and evaluate what we had previously done and created and those that we saw as inspiration of the past separating what inspired us and those who had gone before us that we either learned from, from those who we needed to put to rest ( the killing of our father’s as it were) in order to make new and untried work that inspired us for the future.

 

6.

We had to use all our senses but especially sight and sound to listen and look to those around us who were like minded making work as well as different from us to form a collective that welcomed and sought out diversity and varying voices.

 

7.

We incorporated a spiritual practice individual and personal that fueled our work but was accepting of other artist’s practices and strived to support and encourage the strength in diverse and independent artists who joined independently and in varying capacities to create a strength that calls out the misappropriation of others work, and or that hails any form of sexism, racism, anti-sematic, or hate.  

8.

We strive to find a formal platform of support for each other that draws on and strives to reinforce the creative individual in an independent yet joint spirit. Looking to Psychological and Feminist theories to create a unified credo of the inclusion of the outsider within the personal and the creative insider.

9.

We have not sought out leadership in this movement but strive to equally divide purposeful public servant qualities responding to the needs of the collective and balancing the individual needs within the group.

10.

We worked to maintain the independent and autonomous support of our own individual needs and where we could contribute to those in need, striving to share and barter with each other in a communal, wholesome exchange, or bartering with one another in hope of supporting each other’s practice without striving to profit from others within the collective.

11.

We take this manifesto to heart with the seriousness and performative wackiness of the futurist with the caveat that war, hatred, and fascism have no purpose in art. Artists seek beauty in a variety of ways, and this may manifest itself in many different mediums and media but that the ideal is to create, support, and innovate the making of work, and support other artists throughout the arts. A Millennium Mod, as it were that evolves from the remnants of both success and loss.

12.

Finally the last point that we make in this manifesto of progressive Neo-moma/Dadaism is to periodically review, update and innovate our ideals to form a more effective collective that gives voice to democratic supportive tribe of artists that honor the historical, the individual voice either solo or in groups, and give credence to the change and growth within individual and collective 

Neo - Momadadist Manifesto