These two titles are published back to back, upside down in the manner of the old two-fer pulps. The Neoist manifestoes are republished from Smile magazine which Home called “the official organ of Generation Positive, a movement so avant-garde that it consisted solely of myself.” In 1984, Home joined forces with a Dada-influenced group calling itself the Neoists. As far as can be gleaned from the manifestoes, it would appear that starting art movements as an end in itself is a sort of 20th-century art form. The writing in the actual manifestoes is by turns silly, and occasionally, actual ly brilliant. The influence of Tristan Tzara is especially in evidence, and one manifesto suggests that “Neoism is not a philosophy at all, it is an illegible note that Tristan Tzara allowed to fall from his breast pocket prior to a performance at the Cabaret Voltaire in 1916.” It should be noted that these writings are among the first public offerings from a very young and prolific writer.
The Art Strike notion has been floating around the art world since 1968. During martial law in Poland, artists refused to exhibit their work in state galleries, leaving the ruling class without an official culture. Home writes,”what’s important are the questions that something like this poses. Hopefully it is as much about triggering doubts as anything else.” The Art Strike that occurred from 1990 to 1993 came about largely as a giant mail-art event and consisted of this series of essays by various people which raise, among others, the question of how effective such a declaration can be in a free marketplace. The standout among The Art Strike Papers is a piece entitled “Art and Class” by Home. The publication of these two titles as a single book allows us to see Home’s growth as a writer and theorist over a crucial decade in his development. SA
Paperback: 100 pages