A growing unease about the state of contemporary art reflects deeper societal concerns, according to composer and writer Magnus O’Mallon. In his exploration of art and its role in Western civilization, he argues that current artistic expressions reveal a troubling decline in values and optimism, mirroring a broader cultural crisis.
Art has long served as a window into the psyche of society. O’Mallon points to historical figures such as Beethoven and Victor Hugo, whose works embodied a sense of hope and grandeur. Beethoven’s compositions resonated with the heroic spirit of revolutionary Europe, capturing the belief in individualism and freedom as ideals worth pursuing. In contrast, today’s art fails to inspire the same sense of warmth and love for humanity, often leaning towards nihilism and despair.
O’Mallon criticizes the current landscape of art, stating that it has become “both a symptom and a cause” of civilizational decline. He references the work of modern artists like Jackson Pollock and the controversial “art” pieces that challenge traditional notions of beauty. In his view, such expressions reflect a society that no longer believes in the possibility of happiness or human greatness. Instead, they convey a message of hopelessness, leading future generations to internalize a narrative of despair.
The decline in artistic quality and vision is not new; history shows similar patterns. O’Mallon draws parallels between ancient Greece’s transition from the idealistic to the mundane, noting how artistic expression often deteriorates alongside societal values. He cites the example of Weimar Germany, where the transition from Wagner’s operas to atonal music illustrated a cultural disintegration that ultimately contributed to moral decline.
O’Mallon argues that the pervasive short-termism in contemporary art mirrors a civilization gripped by fear and uncertainty. He laments the lack of artistic ambition and the prevalence of transient, superficial expressions that abandon the pursuit of beauty. In contrast, he envisions a revival of the grand themes celebrated by past artists, advocating for a cultural renaissance grounded in the ideals of human dignity and optimism.
An example of this struggle is the film La La Land, which, despite its stunning visuals and music, ultimately reflects a cynical outlook on hope and success. O’Mallon critiques how the film’s narrative undermines its own moments of joy, suggesting that even attempts at beauty are tainted by a sense of irony and despair.
In light of these observations, O’Mallon issues a call to action: to reclaim the artistic heritage of the West. He believes that the great works of the past can serve as a foundation for a new cultural movement that embraces beauty, dignity, and human greatness. “Despair and puerility are powerless against the art of beauty and grandeur,” he asserts, positioning art as a vital tool for societal renewal.
He envisions a future where artists create works that inspire hope and challenge the prevailing narrative of decline. This artistic revolution, he argues, is essential not only for the preservation of cultural identity but for the survival of a society that has lost its way. By engaging with the great music, literature, and art of the past, O’Mallon believes individuals can align themselves with a vision of upwardness and flourishing, countering the forces of nihilism and despair that currently dominate the artistic landscape.
